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 The Last Seduction
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 16 out of 387
387 movie reviews
    • 47 Metascore
    • 40 Elvis Mitchell
    Pared down to a farfetched plot and paper-thin motives, the story relies on an overload of tangential subplots to keep it looking busy. [3 Apr 1996, p.C15]
    • The New York Times
    • 40 Metascore
    • 40 Elvis Mitchell
    The pace is so plodding and the dialogue so unwaveringly banal … that the film can't rise to the extraordinary sensations it means to capture.
    • 31 Metascore
    • 40 Elvis Mitchell
    Humorous slashings and car accidents constitute similar high points in a film that is glaringly short on ''Scream''-style self-mockery to match its dopey mayhem.
    • 16 Metascore
    • 40 Elvis Mitchell
    It succeeds as a reasonably smart no-brainer. If you've ever had a yen to relive the third grade, this must be the next best thing.
    • 73 Metascore
    • 40 Elvis Mitchell
    Dialogue that strains to be colorful, indiscriminately piled-on pop songs, plot developments that aren't followed through on, and minor aspects of motivation that are never known. [15 June 1988, p.C20]
    • The New York Times
    • 67 Metascore
    • 40 Elvis Mitchell
    Elaborate as this sounds, there really isn't much plot here, only a parade of arbitrary visual tricks to hold the film together. [30 Mar 1988, p.C18]
    • The New York Times
    • 40 Metascore
    • 40 Elvis Mitchell
    Isn't much when it comes to either deliberate or inadvertent humor. But it does have a few amusing moments.
    • 35 Metascore
    • 40 Elvis Mitchell
    Newly benign and noticeably clumsier than the hits (Williamson) has written.
    • 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.
    • 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
    • 55 Metascore
    • 40 Elvis Mitchell
    Like "The Quick and the Dead," Desperado wavers uneasily between myth making and parody, so that too many scenes drag on long after they've lost their punch.
    • 22 Metascore
    • 30 Elvis Mitchell
    The film's bright look and visual energy are much more liberating than the machinations of its teen queens.
    • 33 Metascore
    • 30 Elvis Mitchell
    Two ridiculous blood-soaked hours.
    • 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
    • 56 Metascore
    • 30 Elvis Mitchell
    An astonishingly lazy and perfunctory effort that does little to realize his (Carrey) comic potential.
    • 36 Metascore
    • 30 Elvis Mitchell
    Alternately grisly and dull, with few surprises. [12 June 1987, p.C6]
    • The New York Times
    • 65 Metascore
    • 30 Elvis Mitchell
    Not even bags of body parts, a bitten-off tongue or a man forced to cut off a pound of his own flesh keep it from being dull. [22 September 1995, p. C18]
    • The New York Times
    • 45 Metascore
    • 30 Elvis Mitchell
    Instead, Mr. Carrey turns up in a sloppy second Ace Ventura film that's little more than an echo of the first. A two-minute trailer wouldn't miss many of its highlights.
    • 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
    • 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
    • 49 Metascore
    • 30 Elvis Mitchell
    As directed by Barry Levinson and acted by an incredible collection of male stars, Sleepers settles the authenticity question by allowing not a whiff of real life into its universe.
    • 33 Metascore
    • 20 Elvis Mitchell
    The cast never has much chance to shine. And the main attraction is kept all too understandably under wraps.
    • 15 Metascore
    • 20 Elvis Mitchell
    The heads may be dead, but at least they have a comical look.
    • 36 Metascore
    • 20 Elvis Mitchell
    It must be said that Berkowitz's shamelessness and persistence aren't inevitably irresistible.
    • 33 Metascore
    • 0 Elvis Mitchell
    If someone left "1984," "Fahrenheit 451," "Brave New World," "Gattaca" and the Sylvester Stallone potboilers "Judge Dredd" and "Demolition Man" out in the sun and threw the runny glop onto a movie screen, it would still be a better picture than Equilibrium, a movie that could be stupider only if it were longer.
    • 6 Metascore
    • 0 Elvis Mitchell
    One way to get through Baby Geniuses is to think about whether it really is the worst movie you've ever seen. Probably not, but pretty darn close.
    • 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

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