Elvis Mitchell, The New York Times
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For 389 reviews, this critic has graded:
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68% higher than the average critic
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3% same as the average critic
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29% lower than the average critic
On average, this critic grades 9.4 points higher than other critics.
(0-100 point scale)
Elvis Mitchell's Scores
- Movies
| Average review score: | 69 |
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| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 248 out of 389
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Mixed: 124 out of 389
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Negative: 17 out of 389
389
movie reviews
- By critic score
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Elvis Mitchell 70
This film maker's supremely tactile, sensual style and his taste for exoticism are captivatingly on display in Stealing Beauty, even if the film's philosophizing sometimes lacks the intellectual heft of a cotton puff. -
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Elvis Mitchell 70
Though Videodrome finally grows grotesque and a little confused, it begins very well and sustains its cleverness for a long while. (Review of Original Release) -
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Elvis Mitchell 70
The film succeeds in finding something sweetly romantic and visually fresh in Grover's flashback memories of Jane, along with allowing Grover plenty of room for wisecracks. -
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Elvis Mitchell 70
Though Heavy begins beautifully, it isn't always able to sustain its balance between narrative subtlety and inertia. -
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Elvis Mitchell 70
Mr. Lyne's films may not cast any new light on the human condition, but they do keep you glued to the screen. -
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Elvis Mitchell 70
The story, neatly compressed, unfolds in dependable and photogenic ways. And it is coaxed along by Mr. Pakula's considerable skills as a brisk, methodical film maker. -
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Elvis Mitchell 70
The film tends to be funny when confining itself to short sketches or dopey television-based humor, flat when pretending to be anything more. -
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Elvis Mitchell 70
The film itself works eagerly to emphasize the frankly entertaining aspects of its story. -
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Elvis Mitchell 60
Gathers a partyful of young players and barely gives them enough of a story line to puff on, but it gets by on personality anyhow. -
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Elvis Mitchell 60
More often, the film is like a ride through a car wash: forward motion, familiar phases in the same old order and a sense of being carried along steadily on a well-used track. It works without exactly showing signs of life. -
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Elvis Mitchell 60
Treats its characters seriously and doesn't resort to the obvious very often. -
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Elvis Mitchell 60
Its name, the film's title, is pronounced "eggs is tense" and meant to have a whiff of the philosophical, even if its intellectual ambition seems mostly limited to spelling affectations. -
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Elvis Mitchell 60
The film shows off Ms. Bullock to amusing if overly frenetic advantage. It also leaves Affleck without enough of a Cary Grant aura to play his wimpier character with style. -
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Elvis Mitchell 60
The film, like Nikita herself, becomes more conventionally sleek and less interestingly bizarre as it moves along. -
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Elvis Mitchell 60
Ultimately, Ms Lynch has nowhere to take her erotic parable except to a dead end, but she makes the unfolding of the story a spooky, engrossing process. [9 Sept 1993, p.C1] -
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Elvis Mitchell 60
Although Robbins might have drawn some of these characters with less obviousness and more satirical bite, he ably keeps this lively, complicated film on track. -
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Elvis Mitchell 60
Travolta again carries a film with enjoyable ease, even if this one remains badly diminished by its perverse streak. -
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Elvis Mitchell 60
Grosbard mercifully avoids melodrama -- the only real false notes are musical ones, from a score by Elmer Bernstein that turns familiar and trite when the film does not. -
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Elvis Mitchell 60
Fortunately, the Webber shelter is a jaunty monument to kitsch, and the Webbers themselves are an appealingly batty crew. -
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Elvis Mitchell 60
Edward Zwick's ultimately sedate thriller starts out with crisply efficient style and the potential for a much more involving story. -
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Elvis Mitchell 60
Nothing if not earnest. It's also eccentric enough to remain interesting even when its ghost story isn't easy to believe. -
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Elvis Mitchell 60
At regular intervals the film stops short for similiarly nifty Chan choreography, letting the star flip, swivel, scamper up walls and hurl large objects with his feet. -
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Elvis Mitchell 60
The five young stars would have mixed well even without the fraudulent encounter-group candor towardS which The Breakfast Club forces them. Mr. Hughes, having thought up the characters and simply flung them together, should have left well enough alone. -
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Elvis Mitchell 60
Ms. Davis gets to deliver the film's obvious message in a single unremarkable line: ''You can tell a lot about a society by who it chooses to celebrate.'' But most of what you can tell from the fun-house mirrors of Celebrity is what you already know. -
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Elvis Mitchell 60
Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk. -
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