Elvis

An energetic romp until the overweight, stoned ending. Baz Luhrmann piles up opulent shots, attractive camera fly-overs and the remixed and reimagined Elvis hits in the background pull you into the story immediately. Hanks’ unreliable narrator, denying any responsibility for the King’s stagnation and eventual decay, is an unlikeable, calculating bastard. His typical economic dodging, the merchandise scene and the corporate over-emphasis on security are the essence of everything that is bad about today’s world and Tom "America’s boy next door" Hanks lays it on us with great verve. Austin Butler is uncompromising and dedicated as Elvis, very faithfully copying his expressive dancing style; Feyd-Rautha is in good hands. The story follows a classic rise and fall pattern, while also going up interesting side roads, whether it is the luck of a white kid who was lucky enough to grow up in a better and all-round righter (black) environment. The timing of the premiere of this movie at the end of a PROUD month is a master stroke straight out of the Colonel’s textbook, the parallels are crystal clear. And Parker’s efforts to keep the King away from politics, family rows, disintegration of marriage, et cetera, et cetera, et cetera. But it never runs on the spot. A most quality memorial to a legend. (07/03/2022)

Two and a half hours of visual debauchery where the editor, the cinematographer and the director's specific signature reign supreme. However, when it comes to the emotional level, with the exception of a few moments, the film only touches the surface. Luhrmann doesn't know how to work well with characters and their personal motivations and emotions, which, among others, was also problem in The Great Gatsby and other films of his. As an homage to Elvis, it is alright, as a proper viewer experience, not so. In this, Elvis is beaten by the romantic A Star Is Born. (10/30/2022)

It was agony to spend nine years waiting for Baz Luhrmann's next feature film, but at least in terms of the visuals, the editing, and the overall use of the author's characteristic mannerisms, Elvis didn't disappoint, quite the contrary. Everything shines, pulsates, and moves from side to side, from window to window, or over the rooftops exactly as the fans would have hoped. The problematic yet daring creative twist is the narrator. To distance oneself from the idolized icon and let someone speak who, even with the greatest objectivity, is the antagonist, could have resulted in an absolute screenwriting disaster. Instead, Elvis is more alive than other biopics, but also not always comfortable for the audience and sometimes even venomous. In short, it's as if Fletcher were telling us about Australia, or even if the Duke himself was guiding us with his voice after Moulin Rouge! – a completely different kind of emotional experience. I understand everyone for whom this change didn't land right, but I also understand everyone who felt that the creators were forcing them to start hating Tom Hanks. I stayed close to the enthusiastic fever of all the camera and sound tricks, but slightly bitter that all of Baz's films in the last thirty years have resonated with me a bit better. (10/10/2022)

Elvis is an enjoyable musical biopic that doesn't bring much new under the sun in terms of plot and slightly alters key events to build a somewhat better drama around them, but its main asset is of course Baz Luhrmann's idiosyncratic directorial grasp and especially the committed performance of Austin Butler, who manages to completely connect with the character of Elvis from the first minutes. Who failed to blend into the character, however, and who sticks out like a sore thumb in the film, is Tom Hanks. It's kind of a matter of whether you accept his peculiar efforts, but I simply didn't believe for the entire two and a half hours that I was seeing Colonel Tom Parker, but rather just Hanks overacting under a layer of prosthetics. Baz Luhrmann doses his hyperstylisation sometimes unnecessarily too much and his choice of the accompanying soundtrack, or rather modern music genres, in a story about the king of rock 'n' roll, I would in all fairness call at least questionable. In any case, and despite these distractions, the film works and offers a truly spectacular experience, which is worth seeing if possible on the big screen. For me, slightly mixed satisfaction. (06/30/2022)

When Baz Luhrmann chose Elvis Presley as his new subject, it was clear that once again it would be a film that you had to see more than once. That’s exactly what happened. The result is brilliant. A great homage to classic great biopics with a fatal antagonist (in the style of Amadeus) and the splendor of a dying carnival world (American Horror Story: Freak Show or Nightmare Alley). Where are my DVDs of G. I. Blues, Blue Hawaii and Girls! Girls! Girls!? ;) (07/25/2022)