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

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The People vs. Larry Flynt
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 16 out of 387
387 movie reviews
    • 56 Metascore
    • 60 Elvis Mitchell
    Ms. Foster and the screenwriter, W. D. Richter, have given this film some peculiar mood swings, so that it starts out zanily and winds down to a wistful note.
    • 60 Metascore
    • 70 Elvis Mitchell
    The film uses morphing and Rick Baker's monster effects strikingly, but it also keeps its gimmicks well tethered to reality.
    • 33 Metascore
    • 20 Elvis Mitchell
    The cast never has much chance to shine. And the main attraction is kept all too understandably under wraps.
    • 54 Metascore
    • 80 Elvis Mitchell
    Combine two stars of this wattage with a lot of techno-talk and elaborate heist plotting and you get plenty of good reasons to pay attention.
    • 82 Metascore
    • 90 Elvis Mitchell
    Mr. Cage digs deep to find his character's inner demons while also capturing the riotous energy of his outward charm. [27 October 1995, p. C3]
    • The New York Times
    • 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.
    • 51 Metascore
    • 90 Elvis Mitchell
    Something special.
    • 46 Metascore
    • 60 Elvis Mitchell
    Manages to have playful comic ingenuity of its own.
    • 39 Metascore
    • 60 Elvis Mitchell
    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.
    • 57 Metascore
    • 80 Elvis Mitchell
    The film's mix of romance and reading matter is seductive in its own right, providing comfy book-lined settings and people who are what they read and write.
    • 52 Metascore
    • 60 Elvis Mitchell
    Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk.
    • 62 Metascore
    • 90 Elvis Mitchell
    Mr. Bogosian's venomously funny play, which he adapted himself for the screen, is given warmth and generosity by Mr. Linklater, whose elegantly fluid direction and great skill with actors are accentuated by the play's spareness.
    • 71 Metascore
    • 90 Elvis Mitchell
    Smoothly directed and acted with glee... showing quick-witted comic spirit.
    • 59 Metascore
    • 70 Elvis Mitchell
    Cheerful, giddy fun.
    • 72 Metascore
    • 80 Elvis Mitchell
    An American remake with plenty of new pizazz.
    • 65 Metascore
    • 80 Elvis Mitchell
    When it comes to holiday films worth swooning over, here's the one to see.
    • 65 Metascore
    • 70 Elvis Mitchell
    A terrific offbeat cast operating on one shared, loony wavelength.
    • 65 Metascore
    • 80 Elvis Mitchell
    With unexpected success, Robert Altman plays a John Grisham mystery in a seductive new key.
    • 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.
    • 75 Metascore
    • 80 Elvis Mitchell
    The film's greatest directorial success is in finding a thoroughly entertaining way of inviting the audience to share Valerie's point of view.
    • 46 Metascore
    • 40 Elvis Mitchell
    Having introduced the two principals and had some fun with their antagonism, the film has nowhere to go.
    • 77 Metascore
    • 90 Elvis Mitchell
    Jerry Maguire is loaded with them: bright, funny, tender encounters between characters who seem so winningly warm and real. [13 December 1996, p.C-1]
    • 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.
    • 75 Metascore
    • 70 Elvis Mitchell
    Though Heavy begins beautifully, it isn't always able to sustain its balance between narrative subtlety and inertia.
    • 44 Metascore
    • 40 Elvis Mitchell
    It winds up illustrating the very emptiness it mocks.
    • 40 Metascore
    • 70 Elvis Mitchell
    Deep Impact confines much of its horror to television news reports and has a more brooding, thoughtful tone than this genre usually calls for.
    • 73 Metascore
    • 90 Elvis Mitchell
    Wag the Dog, the poison-tipped political satire that's as scarily plausible as it is swift, hilarious and impossible to resist.
    • 56 Metascore
    • 40 Elvis Mitchell
    But even after the documentary affectation gives way to a more conventional narrative, the film has trouble ringing true.
    • 67 Metascore
    • 60 Elvis Mitchell
    Grandiose and silly.
    • 51 Metascore
    • 70 Elvis Mitchell
    Both actors play their roles so trickily that tensions escalate until the horror grows unimaginatively gothic.

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