Elvis Mitchell

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For 388 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 6.3 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Apollo 13
Lowest review score: 0 Equilibrium
Score distribution:
  1. Negative: 16 out of 388
388 movie reviews
    • 43 Metascore
    • 60 Elvis Mitchell
    The special effects are suitably catastrophic, though they aren't much more clever than the computer tricks that turn up in beer commercials these days.
    • 72 Metascore
    • 80 Elvis Mitchell
    That glimmer of recognition is what makes Groundhog Day a particularly witty and resonant comedy, even when its jokes are more apt to prompt gentle giggles than rolling in the aisles.
    • 64 Metascore
    • 70 Elvis Mitchell
    The visual illusion that Ms. Lohan is actually two characters has been accomplished so seamlessly that it barely diverts attention from one of the film's greatest passions, its product plugs.
    • 63 Metascore
    • 80 Elvis Mitchell
    This is hot-weather escapism so earnestly retrograde that it seems new.
    • 82 Metascore
    • 90 Elvis Mitchell
    The purity and breadth of this meticulous study are all the more gratifying in view of its unprepossessing style.
    • 57 Metascore
    • 50 Elvis Mitchell
    Beloved works on its own but is much enhanced by familiarity with the Pulitzer Prize-winning novel. In so ambitiously bringing this story to the screen, Ms. Winfrey underscores a favorite, invaluable credo: read the book.
    • 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
    • 67 Metascore
    • 80 Elvis Mitchell
    It has a hurtling pace, nonstop intensity and a stylish, appealing performance by Will Smith in his first real starring role.
    • 47 Metascore
    • 60 Elvis Mitchell
    The Crash characters sleepwalk through this story in a state of futuristic numbness, seeking extreme forms of sensation because familiar feelings have long since failed them. It's a chilling, ghastly possibility that manages to exert a grim fascination.
    • 68 Metascore
    • 60 Elvis Mitchell
    Its name, the film's title, is pronounced "eggs is tense" and meant to have a whiff of the philosophical, even if its intellectual ambition seems mostly limited to spelling affectations.
    • 60 Metascore
    • 80 Elvis Mitchell
    Though in essence this is little more than a girls' romance novel brought to life, it has been filled with heart and humor. The place, the people and even the largely predictable situations in which they find themselves are presented in an entirely winning way. [21 Oct 1988]
    • The New York Times
    • 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.
    • 72 Metascore
    • 90 Elvis Mitchell
    Drawing a parade of colorful performances from a constantly surprising cast, the curiously titled ''John Grisham's 'The Rainmaker' '' is Mr. Coppola's best and sharpest film in years.
    • 74 Metascore
    • 80 Elvis Mitchell
    Like a great chef concocting an exquisite peanut butter-and-jelly sandwich, Mr. Burton invests awe-inspiring ingenuity into the process of reinventing something very small.
    • 58 Metascore
    • 40 Elvis Mitchell
    Neither fast nor furious, this film belongs in the section of the supermarket where blah-white labels and big block lettering denote brandless cigarettes, vodka, crushed pineapple and, in this case, action picture.
    • 63 Metascore
    • 70 Elvis Mitchell
    Tauntingly flirtatious scenes between Ms. Ryder and Ms. Weaver give this film a sexual boldness that the others' action-adventure spirit lacked.
    • 59 Metascore
    • 30 Elvis Mitchell
    The eventual video game is bound to be a lot more fun -- and less slowed down by bad dialogue -- than this "Dead."
    • 83 Metascore
    • 80 Elvis Mitchell
    Duvall's unobtrusive direction moves the film at a leisurely pace that lets many scenes build the gentle, pleasing rhythms of small-town Southern life. A rare display of spiritual light on screen.
    • 39 Metascore
    • 60 Elvis Mitchell
    Eschewing warm, cuddly imagery just as Mr. Van Allsburg's book does, the film affects a strange, artificial style that has the invasive weirdness of "Gremlins" but none of the charm.
    • 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.
    • 16 Metascore
    • 0 Elvis Mitchell
    The film makers had declared they were bravely exploring new levels of licentiousness, but the biggest risk they've taken here is making a nearly $40 million movie without anyone who can act. The absence of both drama and eroticism turns Showgirls into a bare-butted bore. [22 Sept 1995]
    • The New York Times
    • 84 Metascore
    • 90 Elvis Mitchell
    Grandly entertaining...matches the Austen-based "Clueless" for sheer run. [13 Dec 1995]
    • The New York Times
    • 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.
    • 27 Metascore
    • 30 Elvis Mitchell
    The film's only bright idea is a duo named Chain Saw (Cameron) and Dave (Riley), who love horror films and instigate grisly but imaginative practical jokes, like pretending to be attacked by bunnies when the class makes a field trip to a petting zoo. [22 July 1987, p.C22]
    • The New York Times
    • 81 Metascore
    • 90 Elvis Mitchell
    Elegant, festive and very, very funny. [9 March 1994, p. C15]
    • The New York Times
    • 89 Metascore
    • 80 Elvis Mitchell
    Mr. Lee, whose lean, straightforward documentary style loses none of his usual clarity and fire (the film has been exceptionally well shot by Ellen Kuras), summons a powerful sense of Birmingham's past and a galvanizing sense of how this bombing would change its future.
    • 88 Metascore
    • 100 Elvis Mitchell
    It reimagines the buddy film with such freshness and vigor that the genre seems positively new.
    • The New York Times
    • 85 Metascore
    • 80 Elvis Mitchell
    The movie's special gift happens to be Mark Wahlberg, who gives a terrifically appealing performance in this tricky role.
    • 66 Metascore
    • 90 Elvis Mitchell
    As directed exquisitely by Gillian Armstrong in a headstrong spirit that recalls her debut feature, "My Brilliant Career," this elliptical tale makes up in visual beauty whatever it lacks in universal meaning.
    • 68 Metascore
    • 80 Elvis Mitchell
    Horrocks's phenomenal mimicry of musical grande dames...makes a splendid centerpiece for the otherwise more ordinary film built around it.

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