Elvis Mitchell
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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 To Die For
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 16 out of 387
387 movie reviews
    • 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.
    • 62 Metascore
    • 60 Elvis Mitchell
    Mr. Murphy proves himself a surprisingly strong actor here, playing Sherman with sweetness and poignancy, not to mention loads of funny weight-related humor.
    • 49 Metascore
    • 50 Elvis Mitchell
    Thanks to Glenn Close's delicious villainy, it succeeds in breathing archly theatrical life into the irresistibly monstrous Cruella DeVil. Otherwise, this remake goes to the dogs too often.
    • 44 Metascore
    • 50 Elvis Mitchell
    Mr. Black's screenplay is mean-spirited, but it earns its keep with sharp, sarcastic dialogue and ingenious ways of setting up this story.
    • 61 Metascore
    • 50 Elvis Mitchell
    The film is shot by Bill Pope with such enterprising flair that it never looks claustrophobic, but the action inevitably stalls in such close quarters.
    • 76 Metascore
    • 50 Elvis Mitchell
    Its sensational looks pale beside storytelling weaknesses that expose the more soulless aspects of this cat-and-mouse crime tale. [15 Dec 1995]
    • The New York Times
    • 65 Metascore
    • 50 Elvis Mitchell
    Wes Craven (of the 'Nightmare on Elm Street' films) is in the mood for parody.
    • 64 Metascore
    • 50 Elvis Mitchell
    But for all its enthusiasm, this film isn't sharp enough to afford all the time it wastes on small talk, long drives, trips to the mall and favorite songs played on car radios.
    • 46 Metascore
    • 50 Elvis Mitchell
    A lot of attention has gone into the film's video games, computer imagery and costumes, to the point where simply watching these artifacts is half the fun...But eventually Hackers turns tedious, perhaps not realizing that an audience can get tired of the same old equations floating in cyberspace.
    • 56 Metascore
    • 50 Elvis Mitchell
    Eraser means to show off the star's standard persona against a backdrop of lavish special effects, which is certainly a formula that's worked before. But this is no "Terminator," since its tricks are so much more arbitrary and over-the-top.
    • 57 Metascore
    • 50 Elvis Mitchell
    Mr. Verhoeven is much better at drumming up this sort of artificial excitement than he is at knowing when to stop.
    • 45 Metascore
    • 50 Elvis Mitchell
    But the film is still breathless and shrill, since Alan Parker's direction shows no signs of a moral or political compass and remains in exhausting overdrive all the time.
    • 42 Metascore
    • 50 Elvis Mitchell
    The actors mark time, and the gung-ho heroics on display are embarrassingly hollow.
    • 52 Metascore
    • 50 Elvis Mitchell
    As a yammering, swishy talk show host, Chris Tucker is flat-out incomprehensible, while Mr. Oldman preens evilly enough to leave tooth marks on the scenery.
    • 37 Metascore
    • 50 Elvis Mitchell
    Though Mr. Williams sometimes seems on the verge of "Aladdin"-caliber improvisation with the ever-morphing green flubber, the film bogs him down with a fiancee (Marcia Gay Harden) hellbent on making him remember a wedding date, and with the full Hughes retinue of thugs and bullies.
    • 67 Metascore
    • 50 Elvis Mitchell
    There's a lot to make [Heckerling's] film likeable, but not much to hold it together. [3 Sept 1982, p.C6]
    • The New York Times
    • 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.
    • 43 Metascore
    • 50 Elvis Mitchell
    With a too-many-cooks screenplay credited to Ron Osborn, Jeff Reno, Kevin Wade and Bo Goldman, it's so long that every character regrettably wears out his or her welcome.
    • 38 Metascore
    • 50 Elvis Mitchell
    While Mr. Howard ably maintains a strong forward momentum, Backdraft often feels directionless beneath its overlay of frantic activity. One clear story line would have been worth more than a series of subplots and tangents.
    • 42 Metascore
    • 50 Elvis Mitchell
    The film has energy even when it hasn't much sense, in a manner that will strike most non-cultists as exhausting.
    • 71 Metascore
    • 50 Elvis Mitchell
    The series now lacks all of its original stars and much of its earlier determination. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy.
    • 57 Metascore
    • 50 Elvis Mitchell
    Army of Darkness would appeal to small children if it were not also too gruesome for them, since Ash does after all wield a chain saw. [19 Feb 1993, p.C10]
    • The New York Times
    • 38 Metascore
    • 50 Elvis Mitchell
    It cares far more about herding audiences into theaters than about what they hear or see.
    • 40 Metascore
    • 50 Elvis Mitchell
    Style overwhelms substance by default.
    • 71 Metascore
    • 50 Elvis Mitchell
    A film that not only breaks the cross-dressing barrier but also ratchets up the violence level for children's animation.
    • 61 Metascore
    • 50 Elvis Mitchell
    A parade of incongruities, with performances ranging from the sublime to the you-know-what.
    • 79 Metascore
    • 50 Elvis Mitchell
    Startlingly original at first, Wings of Desir' is in the end damagingly overloaded. The excesses of language, the ceaseless camera movement, the unyielding whimsy have the ultimate effect of wearing the audience down. (Review of Original Release)
    • 71 Metascore
    • 50 Elvis Mitchell
    The film transcends racial divisions by bestowing equally hopeless dialogue on both sides.
    • 45 Metascore
    • 50 Elvis Mitchell
    Timing does no favors for The Chamber, the John Grisham death row drama that arrives on the heels of a better death row film (''Dead Man Walking'') and a better Grisham adaptation (''A Time to Kill''). But this film's also-ran aspects are partly offset by Gene Hackman's superlative performance.
    • 37 Metascore
    • 50 Elvis Mitchell
    Depp moves through the film suavely and imperturbably, never letting the particulars bog him down.

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