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 9 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Last Seduction
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 16 out of 387
387 movie reviews
    • 54 Metascore
    • 90 Elvis Mitchell
    If the film doesn't add up to a cogent legal argument, neither does it have trouble delivering 2 hours and 20 minutes' worth of sturdy, highly charged drama.
    • 77 Metascore
    • 90 Elvis Mitchell
    Makes jaunty, imaginative use of both extraordinary technology and bold storytelling possibilities within the insect world.
    • 65 Metascore
    • 90 Elvis Mitchell
    Mr. Redford has found his own visually eloquent way to turn the potboiler into a panorama, with a deep-seated love for the Montana landscape against which his rapturously beautiful film unfolds.
    • 82 Metascore
    • 90 Elvis Mitchell
    Before we go numb from such prefab excitement, here comes a mega-movie that actually delivers what mega-movies promise: strong characters, smart plotting, breathless action and a gimmick that hasn't been seen before.
    • 67 Metascore
    • 90 Elvis Mitchell
    Concentrating on the fine-tuned trivia that fuels so much television comedy, it also creates two bright, appealing heroines and watches them face life's little insults with fresh, disarming humor.
    • 70 Metascore
    • 90 Elvis Mitchell
    Even when it turns turbulent, the film sustains its warm summer glow, and makes itself a conversation piece about the moral issues it means to raise.
    • 65 Metascore
    • 90 Elvis Mitchell
    Brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point.
    • 81 Metascore
    • 90 Elvis Mitchell
    A nifty example of how to make something out of nothing. Nothing but imagination, and a game plan so enterprising it should elevate its creators to pinup status at film schools everywhere.
    • 73 Metascore
    • 90 Elvis Mitchell
    This modest, enormously likable film, about love and temptation and ties that bind, is about brotherhood most of all. [9 August 1995, p.C9]
    • The New York Times
    • 80 Metascore
    • 90 Elvis Mitchell
    Quietly courageous drama .
    • 64 Metascore
    • 90 Elvis Mitchell
    Everywhere the camera turns in this tense and volatile drama, it finds enough interest for a truckload of conventional Hollywood fare. Whatever its limitations, Cop Land has talent to burn.
    • 64 Metascore
    • 90 Elvis Mitchell
    A hilariously brazen comedy whose heroine is an improbable hoot.
    • 80 Metascore
    • 90 Elvis Mitchell
    There are times when The Shawshank Redemption comes dangerously close to sounding one of those "triumph of the spirit" notes. But most of it is eloquently restrained. [23 Sept 1994, p.C3]
    • The New York Times
    • 76 Metascore
    • 90 Elvis Mitchell
    Humorously and fondly, with an entertaining supply of what he has called "prosaic license," Stillman again displays a pitch-perfect ear for both the cattiness and the camaraderie that bind his characters into collective friendship.
    • 71 Metascore
    • 90 Elvis Mitchell
    Kirk Jones, who wrote and directed this blithe comedy, has been a prize-winning director of television commercials. And he has the knack of finding rubbery, expressive faces and letting each villager's quirks emerge on cue.
    • 61 Metascore
    • 90 Elvis Mitchell
    This poisonous, brazenly autobiographical comedy shows off the best of Mr. Allen's misanthropic humor.
    • 68 Metascore
    • 90 Elvis Mitchell
    It tells a finely nuanced tale of right, wrong and the gray area in between.
    • 70 Metascore
    • 90 Elvis Mitchell
    The script's bare bones are familiar, yet the film also has fine acting, steady momentum, a sharp eye and a very warm heart.
    • 86 Metascore
    • 90 Elvis Mitchell
    What makes the performance(s) even better is that Mr. Irons invests these bizarre, potentially freakish characters with so much intelligence and so much real feeling. [23 Sept 1988, p.C10]
    • The New York Times
    • 83 Metascore
    • 90 Elvis Mitchell
    With a fine vengeance along with flashes of great, unexpected tenderness, Mr. Solondz lethally evokes every petty humiliation that his seventh-grade heroine can't wait to forget.
    • 86 Metascore
    • 90 Elvis Mitchell
    It's too smart to be maudlin.
    • 81 Metascore
    • 90 Elvis Mitchell
    Mr. Russell's wonderfully mad odyssey of a movie, in which a man sets out to find his biological parents and winds up meeting more weirdos than Alice found down the rabbit hole.
    • 73 Metascore
    • 90 Elvis Mitchell
    The film's strength is that it sustains an intimate and realistic tone. Mr. Fishburne, who is called upon to deliver several lectures, manages to do so with enormous dignity and grace, and makes Furious a compelling role model, someone on whom the whole film easily pivots.
    • 77 Metascore
    • 90 Elvis Mitchell
    Beautiful and heartfelt, an oasis of humanity in a season of furious hyperbole.
    • 71 Metascore
    • 90 Elvis Mitchell
    Ingenious fantasy.
    • 81 Metascore
    • 90 Elvis Mitchell
    It has taken only two films, "Welcome to the Dollhouse" and now Happiness, for Todd Solondz to establish his as one of the most lacerating, funny and distinctive voices in American film.
    • 73 Metascore
    • 90 Elvis Mitchell
    His Breakdown is a tough, vigorous exercise in pure action, shot with throwback expertise and, most refreshingly, without special effects.
    • 86 Metascore
    • 90 Elvis Mitchell
    Stunning...a film much tougher and more transfixing than its wan title.
    • 81 Metascore
    • 90 Elvis Mitchell
    A rueful, warmly affecting film featuring a wonderful performance by Mr. Troisi, The Postman would be attention-getting even without the sadness that overshadows it. [14 June 1995, p. C15]
    • The New York Times
    • 79 Metascore
    • 90 Elvis Mitchell
    Morris has fashioned a brilliant work of pulp fiction around this crime. [26 Aug 1988, p.C6]
    • The New York Times

Top Trailers