Elvis Mitchell

Select another critic »
For 387 reviews, this critic has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 7.3 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The English Patient
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 17 out of 387
387 movie reviews
    • 54 Metascore
    • 60 Elvis Mitchell
    As the family film least insulting to its audience's intelligence this season, Mouse Hunt has its share of grown-up appeal along with mouse mischief guaranteed to have children giggling.
    • 54 Metascore
    • 80 Elvis Mitchell
    Combine two stars of this wattage with a lot of techno-talk and elaborate heist plotting and you get plenty of good reasons to pay attention.
    • 54 Metascore
    • 60 Elvis Mitchell
    The film's cool, sober texture and its clever characters are often more interesting than the larger plot.
    • 54 Metascore
    • 80 Elvis Mitchell
    Good-humored, try-anything fun.
    • 53 Metascore
    • 60 Elvis Mitchell
    Treats its characters seriously and doesn't resort to the obvious very often.
    • 53 Metascore
    • 50 Elvis Mitchell
    The movie's biggest challenge, one that it does not exactly meet, is to persuade the audience that this husband and father's escapade is somehow an act of love.
    • 53 Metascore
    • 90 Elvis Mitchell
    Mr. Pitt moves through this unexpectedly solid thriller with dazzling confidence, showing off all the star power that he usually works overtime to hide.
    • 53 Metascore
    • 60 Elvis Mitchell
    Edward Zwick's ultimately sedate thriller starts out with crisply efficient style and the potential for a much more involving story.
    • 53 Metascore
    • 40 Elvis Mitchell
    The Accidental Tourist often relies on Miss Tyler's methods without tempering them, and gives a tone of crashing obviousness to material that need not have seemed that way. [23 Dec 1988, p.C12]
    • The New York Times
    • 52 Metascore
    • 70 Elvis Mitchell
    [The writers/directors] show easygoing humor and the wisdom to borrow well. Their film at various times recalls tenderhearted coming-of-age comedies from "American Graffiti" onward, with strong homage to the works of Cameron Crowe, Amy Heckerling and John Hughes.
    • 52 Metascore
    • 60 Elvis Mitchell
    Lost Highway, an elaborate hallucination that could never be mistaken for the work of anyone else, finds Mr. Lynch echoing the perversity of "Blue Velvet," the earlier film of his that this most closely resembles.
    • 52 Metascore
    • 60 Elvis Mitchell
    Nothing if not earnest. It's also eccentric enough to remain interesting even when its ghost story isn't easy to believe.
    • 52 Metascore
    • 30 Elvis Mitchell
    Just a parade of scattershot gags, more often weird than funny an dmost often just flat. [13 Dec 1996, p.C5]
    • The New York Times
    • 52 Metascore
    • 70 Elvis Mitchell
    The colorfully written Con Air is a solid chip off "The Rock," pumped up and very well cast, with the prettiness and polish of advertising art.
    • 52 Metascore
    • 70 Elvis Mitchell
    Mr. Rodriguez demonstrates his talents more clearly than ever -- he's visually inventive, quick-witted and a fabulous editor -- while still hampering himself with sophomoric material.
    • 52 Metascore
    • 50 Elvis Mitchell
    The worst of it is painless; the best is funny, sly, cheerful and, here and there, even genuinely inspired. [15 May 1987, p.C3]
    • The New York Times
    • 52 Metascore
    • 30 Elvis Mitchell
    Mr. Carpenter has directed the film with B-movie bluntness, but with none of the requisite snap. And his screenplay (written under the pseudonym Frank Armitage) makes the principals sound even more tongue-tied than they have to. [4 Nov 1988, p.C8]
    • The New York Times
    • 52 Metascore
    • 60 Elvis Mitchell
    Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk.
    • 52 Metascore
    • 60 Elvis Mitchell
    Predicated on two ideas -- that human nature is rife with perfidy and that it's important to get the cast into hot cars or bathing suits whenever possible -- Mr. McNaughton and the cinematographer Jeffrey L. Kimball (''Top Gun,'' ''True Romance'') give a decadent gloss to this far-fetched, quintuple-crossing tale.
    • 51 Metascore
    • 90 Elvis Mitchell
    Something special.
    • 51 Metascore
    • 40 Elvis Mitchell
    Pretty actors, grisly critters, brains sucked out of skulls, buckets of green slime and a plot that is half beach blanket bingo, half Iwo Jima.
    • 51 Metascore
    • 50 Elvis Mitchell
    As for the actual movie, it's the empty-calorie equivalent of a Happy Meal (another Batman tie-in), so clearly a product that the question of its cinematic merit is strictly an afterthought.
    • 51 Metascore
    • 60 Elvis Mitchell
    Easier to watch than it is to believe.
    • 51 Metascore
    • 70 Elvis Mitchell
    Ms. Heche and Mr. Ford make an appealing, wisecracking team, and they look comfortable with the rugged demands of their roles.
    • 51 Metascore
    • 70 Elvis Mitchell
    Both actors play their roles so trickily that tensions escalate until the horror grows unimaginatively gothic.
    • 50 Metascore
    • 70 Elvis Mitchell
    The story, neatly compressed, unfolds in dependable and photogenic ways. And it is coaxed along by Mr. Pakula's considerable skills as a brisk, methodical film maker.
    • 50 Metascore
    • 40 Elvis Mitchell
    Loud, frantic, ridiculously overproduced and featuring a preening performance by Val Kilmer as a supposedly brilliant master of disguise, The Saint is sheer overkill.
    • 50 Metascore
    • 40 Elvis Mitchell
    Obtuse, prettily decorative comedy. Characters burst gaily into song when, as often happens, they don't have anything better to do.
    • 50 Metascore
    • 50 Elvis Mitchell
    Likable for its outlandishness, less so when it shows a self-important streak.
    • 49 Metascore
    • 50 Elvis Mitchell
    The only sneaky scheme at work here is the one that inflates a hollow plot to fill 2 1/4 hours while banishing skepticism with endless close-ups of big, beautiful movie-star eyes.

Top Trailers