Rodrigo Amaro "Mitchell"...oh boy, that was weird to watch. In a bizarre way it fulfilled all my expectations as being a bad film. I was searching for something like that after a successful stream of good projects coming my way, not to mention I was curious in seeing the great character actor Joe Don Baker as a leading man. But the reality of "Mitchell" was far beyond any possible expectation; the outcome seen was a manageable disaster that didn't claim lives but managed to destroy a few brain cells on the way. It's so bad that it's good (for brief moments) and it gets a few laughs from the audience even though this isn't a comedy...but it's extremely hard to take it seriously. For the most part, it's just a troubled and boring wreck, and thanks to MST3K which made this a cult hilarious flick that we can enjoy some of its lousiness.Baker plays the title role, a reckless and sleazy detective obsessed with two on-going investigations: one which revolves heroin dealers and other about a rich guy (John Saxon) who killed a burglar in his house. Obvious even to the clueless viewers that apparently those two actions are connected in some way. Mitchell tries to act like Dirty Harry (there's even a similar sequence when he shoots a running suspect on his knee) but doesn't have the same bite. He's too weak for it. He's drunk, clumsy and falls for the slightest possible weakness and that is when a prostitute is thrown on his lap, paid by the people he's investigating - which delivers the funniest scene of the film, a sex scene with an idiotic and funny theme song about his character. As I write this, that song still echoes in my head (My, my, my Mitchell...). Trying to establish why "Mitchell" fails in so many levels is a difficult task and one that wouldn't fit in the limited lines we're allowed in here. It's just too much. While the few action sequences are actually interesting to watch (problem is that they always revolves around car chases, except the opening with the burglar), the rest of the film, the investigations, lame sex scenes that doesn't add anything to the film and the cringing dialogue with the kid on the street...they just don't work. And don't get me started with the dialogues between Mitchell and Martin Balsam character (whom is there to help the detective with his heroin case), which dragged on and on. I wasn't amused nor thrilled, just waiting for the "climatic" ending because the ridicule was going for far too long. No wonder that the writer only developed TV scripts after this wreck, making of this film his only theatrical screenplay. What amazes the most in "Mitchell" is that the acting isn't all that bad as the writing. Sure, the cast was forced to deliver some of the weirdest lines of all in their whole careers, execute actions and thoughts in one of the worst projects of all time, but I think their acting isn't so atrocious as expected. Baker was in fact a good lead, in some ways I liked the character and for a brief moment when this thing wasn't so cheesy, it could actually render him a nice film series. He has charisma, some humor, plays a hard character that has some vulnerabilities but at the end of the day manages to do his job despite some unorthodox methods and his sloppy ways of acting - I've never seen a "hero" running away from trouble so many times like he does. Balsam, Saxon and others weren't so bad either. The problem stays with the script, which offers us poor dialogues, strange and unworthy of attention sequences, a waste of our time. But whatever, the damage wasn't so terrible because I've seen a lot worse and MST3K's observation of this "film" was so great that for a moment we can all say that celluloid wasn't so wasted after all. Their watching and comments on it are some of the most amusing, hilarious and relevant moments in the entertainment. It speaks volumes on this film and a lot more humored and better than most film criticisms I've ever seen ("Mittens?!?" Joe Don Baker is "Mittens"; Ooh, it's "Mitchell", the Martha Mitchell story. Joe Don Baker IS "Martha Mitchell"), not to mention the loads of references they throw on it from Johnny Mathis, "Fame" to Pink Floyd. Their version (slightly censored though) deserves a higher praise; the original "Mitchell" alone gets some note with me. It wasn't that bad though it made me feel ill for some time. And yes, this movie makes "Driving Miss Daisy" looks like "Bullitt". 3/10

classicsoncall Maybe these flicks are wearing me down. I watched the IMDb rated 3.4 film "Gone With The West" yesterday and I didn't think it was all that bad. I follow it up today with "Mitchell", and even though practically everyone with a review here bashes it for it's insensibility, I actually got a kick out of it. Thats' not to say I didn't use the fast forward button a few times, but I'll do that anyway through most films with senseless chase scenes and slow spots that don't make a difference.Here's the thing - Joe Don Baker is like the Energizer bunny, he just keeps on ticking. Would you rather have a dull, boring cop without charisma, or a dull, boring cop without charisma but wearing all those groovy plaid sport coats? I can't remember the last time I saw one of those, but I might have had one back in the day.Anyway, there's some kind of heroin deal going on, and Mitchell's assigned to the case, more or less to keep him out of the trouble he'd get into by tailing a well connected socialite gangster (John Saxon). But he tails Saxon anyway, along with drug kingpin Cummings (Martin Balsam), who's taking HIS orders from a couple of other higher ups in the heroin chain. You can't fault Mitchell for his inventiveness, I particularly liked the 'smash the goon's hand in the car door' trick; that looked pretty painful. And if I ever see another picture that features a death by dune buggy, I'll know the inspiration was born here.Apart from Linda Evans' hooker falling for a guy like Mitchell, the way he scrapped vehicles like old pairs of socks, and the picture's goofy 'Mitchell' theme song, you know what really freaked me out? How did old Mitch know which switch in the electrical panel would have operated the front gate at the beginning of the story? Then he did it again by hitting the right one to close down the swing doors in Saxon's hallway. I open my panel about once a year when I have to shut something down, and it'll take me a few minutes just to figure out the right one.

Woodyanders When given the awesome challenge and responsibility of making a comment on the extraordinary piece of pure cinematic gold that is "Mitchell," one simply can't just write your basic synopsis of the plot and follow it with a critique of the picture itself. Instead, one must show a little creativity and imagination (two sterling attributes which are richly abundant in this remarkably fine feature) in order to properly give the film itself it's true due. So, I'm going to happily list the many reasons why "Mitchell" is better than "The French Connection."1) Burly, bullfrog-faced 70's B-movie icon Joe Don Baker portrays the scruffy, boozy, blithely amoral and thoroughly unorthodox maverick cop Mitchell with an animal passion and charismatic conviction which makes Gene Hackman's overrated Oscar-winning performance in "French Connection" seem extremely bland and superficial. Moreover, the character of Mitchell clearly influenced such subsequent "you gotta bend the law in order to enforce it" fellow iconoclastic rough-around-the-edges police detectives as Nick Nolte in "48 Hours" and especially Mel Gibson in "Lethal Weapon." 2) The sluggish pacing will give you a profound newfound respect and admiration for the stirring spectacle that is watching grass grow. 3) Both John Saxon as a suavely slimy lawyer and Martin Balsam as a dastardly dope-dealing businessman sneer and leer with a lip-smacking go-for-it panache that's an absolute joy to behold. 4) The adversarial relationship between Mitchell and his huffy disapproving superior boldly explores heretofore untouched terrain in a cop action flick. 5) Linda Evans as a gorgeous high class hooker bears a striking resemblance to Cathy Lee Crospy. Don't miss the post-coital scene which shows Mitchell kissing Linda's bare feet; I'm sure this particular moment is wholly accountable for Quentin Tarantino's foot fetish. Furthermore, the Patsy Kensit gratuitous love interest character in "Lethal Weapon 2" was obviously patterned after Linda Evans' role in "Mitchell." 6) The choppy editing forsakes a steady snappy rhythm for a herky-jerky carelessly slapped together quality that's bound to make you queasy. Kudos are also in order for beautiful cinematography which sharply photographs the picture with a painter's discerning eye for breathtaking poetic imagery. 7) The insanely funky score cuts a righteous get-down groove which makes that over-hyped "Theme from 'Shaft'" sound like insipid elevator music. Better yet, we are further entreated to a couple of wonderfully corny country and western songs which are deftly drawled by the sublime Hoyt Axton ("Hey hey hey my Mitchell"). 8) The infrequent, but nonetheless still thrilling action scenes are staged with a rip-snorting aplomb and consummate expertise that makes John Woo seem dull and uninspired. The guy who takes a spill out of a helicopter and falls all of five lousy feet into the ocean below has to be one of the single most exciting and impressive stunts I have ever had the pleasure to see. All in all, as this illustrious list quite persuasively proclaims "Mitchell" is without a doubt a shamefully unsung and unheralded work of tremendous art that future generations of film fans will watch in total awe and amazement.

bensonmum2 Over the years I've learned that anytime Joe Don Baker is the "star" of a movie, you know you're in trouble. I don't know what the people behind Mitchell were thinking, but Joe Don Baker cannot carry a movie. He's fine as a goofy sidekick to provide some comic relief, but he just looks silly trying to play an action star.The plot really doesn't matter. The highlight of the movie is watching Baker run, drink beer, and recite goofy dialog. One of the weirdest moments in the movie is a scene with Baker and a little boy on a skateboard. The exchange they have is utterly ridiculous and feels like it belongs in another movie.I'm not sure what Linda Evans, Martin Balsam, and John Saxon thought Mitchell would do for their careers, but it's certainly a low point. Fortunately for Saxon, he disappears about half way through and doesn't make it to the film's "dramatic" conclusion. I've always looked at Balsam as a fairly accomplished actor. He should have known better. As for Evans, her love scenes with Baker are enough to induce nausea. Hoyt Axton musical ode to Mitchell only adds to the ridiculous nature of the this scene.I've seen Mitchell both with and without the MST3K commentary. The preferred viewing is with the commentary. I'm no MST3K expert, but this is my favorite episode that I've seen. Much of it is truly laugh-out-loud funny.