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

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Titanic
Lowest review score: 0 Equilibrium
Score distribution:
  1. Negative: 16 out of 387
387 movie reviews
    • 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.
    • 76 Metascore
    • 70 Elvis Mitchell
    Shows colorful style and a wisdom beyond precocity about its setting and its people.
    • 62 Metascore
    • 70 Elvis Mitchell
    Mr. Scott's affinity for the visceral and strenuous, from ''Alien'' to ''Blade Runner'' to ''White Squall,'' is much more central here than the renegade feminism of his ''Thelma and Louise.'' With punishing intensity, he plunges his audience into the maelstrom of the training program.
    • 60 Metascore
    • 70 Elvis Mitchell
    The film itself works eagerly to emphasize the frankly entertaining aspects of its story.
    • 70 Metascore
    • 70 Elvis Mitchell
    [Smith] also has an uncommonly sure sense of deadpan comic timing. [25 Mar 1994, p.C10]
    • 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.
    • 70 Metascore
    • 70 Elvis Mitchell
    An inviting but evanescent film that does have casualness, curiosity value and a lot of talent on its side.
    • 59 Metascore
    • 70 Elvis Mitchell
    Dependably well made and not quite like any Allen film that came before. Nimble film making like this isn’t necessarily geared to the magnum opus, but Mr. Allen can achieve fine, amusing results even while thinking small. [27 October 1995, P.C1]
    • The New York Times
    • 63 Metascore
    • 70 Elvis Mitchell
    Even if you haven't spent as much obsessive time at the video store as these guys have, you might enjoy helping 'Scream 2' laugh all the way to the bank.
    • 58 Metascore
    • 70 Elvis Mitchell
    To its credit, the film doesn't sugarcoat its women too monstrously, and it lets real conflicts and opinions occasionally creep in.
    • 68 Metascore
    • 70 Elvis Mitchell
    It becomes less crisp on screen than it was on the page, with much of the enjoyable jargon either mumbled confusingly or otherwise thrown away. [11 June 1993, p.C1]
    • The New York Times
    • 73 Metascore
    • 70 Elvis Mitchell
    Of all the bravura visual effects in Martin Scorsese's dazzingly stylish Casino, it's a glimpse of ordinary people that delivers the greatest jolt. [22 November 1995, p.C9]
    • The New York Times
    • 66 Metascore
    • 70 Elvis Mitchell
    Robert Downey Jr.'s Blake Allen is enough of a raging dynamo to find the dark humor and desperate romanticism at the heart of Mr. Toback's ego trip of a premise, and to make Blake sympathetic too.
    • 61 Metascore
    • 70 Elvis Mitchell
    Mr. Douglas, who delivers a new shade of cruel elegance each time he plays another urbane monster, is the ideal star for this vigorously contrived thriller.
    • 64 Metascore
    • 70 Elvis Mitchell
    A well-made work with much to recommend it, even if its worthiness is not the brightest flare on the movie horizon this season.
    • 57 Metascore
    • 70 Elvis Mitchell
    Fortunately, the actors are mostly likable, and the story is told gently enough to downplay both its trendiness and its conventionality.
    • 58 Metascore
    • 70 Elvis Mitchell
    The film is played as witchy, all-star vamping with a lethal sting. What makes its premise especially funny is that, at heart, it's no laughing matter.
    • 79 Metascore
    • 70 Elvis Mitchell
    The film's outstanding nastiness, which is often diabolically funny until a poorly staged final battle sequence simply takes things too far, has something real and recognizable at its core.
    • 64 Metascore
    • 70 Elvis Mitchell
    The filmmaker has borrowed from Chekhov the soul-baring introspection that can be so ineffable on the page or stage yet becomes so damply sensitive and dramatically vague on screen.
    • 70 Metascore
    • 70 Elvis Mitchell
    If Ed Wood has a major failing, it's the lack of momentum. Wood's career had nowhere to go, and to some extent the film has the same problem. [23 September 1994, p.C34]
    • The New York Times
    • 63 Metascore
    • 70 Elvis Mitchell
    Muriel's Wedding runs into trouble when it looks for poignancy too openly, working better at giddy moments than in its occasional sad ones. Most of the time, Mr. Hogan keeps his story light and surprising.
    • 72 Metascore
    • 70 Elvis Mitchell
    Hard to believe that real emotion was involved anywhere in this story.
    • 61 Metascore
    • 70 Elvis Mitchell
    A film with a counterproductive tendency to take its time...but unassumingly strong, moving performances and Darabont's durable storytelling make it a trip worth taking just the same.
    • 81 Metascore
    • 70 Elvis Mitchell
    It exaggerates real, recognizable attitudes in a manner that intends to be disturbing.
    • 47 Metascore
    • 70 Elvis Mitchell
    It remains the most structurally elegant and sneakily playful of thrillers. At least some things never change.
    • 78 Metascore
    • 70 Elvis Mitchell
    One more film that could have been helped by excising repetition and focusing performances, but it wanders almost randomly instead. The heart-piercing moments that punctuate its rambling are glimpses of what a tighter film might have been.
    • 83 Metascore
    • 70 Elvis Mitchell
    The process whereby Loretta and Ronny fall in love is a lot less appealing than the large-family drama unfolding around the Castorinis' kitchen table. [16 Dec 1987, p.C22]
    • 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.
    • 61 Metascore
    • 70 Elvis Mitchell
    Another demonstration that current movies about upscale black characters have much more traditional values than ones about catty white teen-agers.
    • 48 Metascore
    • 70 Elvis Mitchell
    A lively, well-constructed film with a large and appealing cast.

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