Elvis Mitchell
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For 388 reviews, this critic has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 9.2 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Who Framed Roger Rabbit
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 17 out of 388
388 movie reviews
    • 48 Metascore
    • 70 Elvis Mitchell
    Events are minor and they unfold slowly. The audience has plenty of time to get ahead of the game.
    • 72 Metascore
    • 70 Elvis Mitchell
    Hard to believe that real emotion was involved anywhere in this story.
    • 81 Metascore
    • 70 Elvis Mitchell
    It exaggerates real, recognizable attitudes in a manner that intends to be disturbing.
    • 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.
    • 63 Metascore
    • 70 Elvis Mitchell
    Lawrence and Murphy make an entertaining team. And they are surrounded by a supporting cast that makes the prison setting more pleasant than it has any right to be.
    • 76 Metascore
    • 70 Elvis Mitchell
    It will help if, while watching The Naked Gun, viewers can assume a mental age of about 14. The jokes will seem fresher that way, and they will also, much to the writers' credit, seem screamingly funny at times. [2 Dec 1988, p.C16]
    • The New York Times
    • 77 Metascore
    • 70 Elvis Mitchell
    Fever beings to flag when, after an initial hour filled with high spirits and jubilant music, it settles down to tell its story; the effect is so deflating that it's almost as though another Monday has rolled around and it's time to get back to work. [16 Dec 1977]
    • 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.
    • 69 Metascore
    • 70 Elvis Mitchell
    Ms. Jenkins, who makes her writing and directing debut with wit and confidence, keeps the small surprises frequent and the coming-of-age perspective sharp.
    • 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.
    • 63 Metascore
    • 70 Elvis Mitchell
    Dwarfed by the enormity of what it means to illustrate, the diffuse Amistad divides its energies among many concerns: the pain and strangeness of the captives' experience, the Presidential election in which they become a factor, the stirrings of civil war, and the great many bewhiskered abolitionists and legal representatives who argue about their fate.
    • 57 Metascore
    • 70 Elvis Mitchell
    If Mr. Linklater is not entirely at ease with action sequences (or with the obligatory having-fun montage once the brothers become successful), he still makes this (after ''Before Sunrise'' and ''Suburbia'') another admirable directorial stretch.
    • 60 Metascore
    • 70 Elvis Mitchell
    Though both stars are sometimes eclipsed when the film strains for big action episodes, Mr. Duchovny sustains enough cool, deadpan intellect and suppressed passion to give the story a center. Ms. Armstrong has the harsher, more restrictive role, but she plays it with familiar hardboiled glamour.
    • 47 Metascore
    • 70 Elvis Mitchell
    It remains the most structurally elegant and sneakily playful of thrillers. At least some things never change.
    • 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.
    • 48 Metascore
    • 70 Elvis Mitchell
    A lively, well-constructed film with a large and appealing cast.
    • 59 Metascore
    • 70 Elvis Mitchell
    Cheerful, giddy fun.
    • 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.
    • 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.
    • 32 Metascore
    • 70 Elvis Mitchell
    Disarmingly, the film thus acknowledges the Spice Girls' flash-in-the-pan status and lets them kid around about their frankly synthetic career.
    • 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
    • 67 Metascore
    • 70 Elvis Mitchell
    This film, like the dazzling but many-tentacled "He Got Game" before it, makes up in fury much of what it lacks in form.
    • 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.
    • 71 Metascore
    • 70 Elvis Mitchell
    Despite its "based on a true story" opening credit, this earnest, nostalgic film has a way of seeming too good to be true.
    • 45 Metascore
    • 70 Elvis Mitchell
    This story has now been gracefully adapted by Bille August into a sleek, good-looking film that captures the book's peculiar fascination.
    • 51 Metascore
    • 70 Elvis Mitchell
    Ms. Heche and Mr. Ford make an appealing, wisecracking team, and they look comfortable with the rugged demands of their roles.
    • 73 Metascore
    • 70 Elvis Mitchell
    Mythic pulp has its allure, and it also has its limitations. El Mariachi displays no real emotion except a profound appreciation for the genre film making that has inspired it, and a delight in manipulating the elements of such stories.
    • 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.
    • 59 Metascore
    • 70 Elvis Mitchell
    Half the film is an ingenuous love story, but the better half consists of pop culture time-warp jokes set in 1985.
    • 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.