Elvis (2022)
Directed by Baz Luhrmann
The life story of Elvis Presley as seen through the complicated relationship with his enigmatic manager, Colonel Tom Parker.
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What critics compared Elvis to
Other movies like Rocketman, Elvis, hell, and even Better Man, take bold risks to handle their figures and tell stories that fit their personalities and lives.
A recent biopic that worked was Baz Luhrmann’s Elvis. The film captured the very essence of what Elvis was about.
A Complete Unknown isn’t as repulsively distasteful as Bohemian Rhapsody or Elvis (2022), but it has inherited some of their worst traits.
Baz Luhrmann's unapologetically bonkers "Elvis" is a hoot…
If you remember, in Elvis, Presley was told not to perform his hits in front of a sold-out crowd and ended up doing it anyway. This moment was the turning point in the performance that led to Butler garnering award recognition.
A recent biopic that worked was Baz Luhrmann’s Elvis.
Or you will find Baz Luhrmann’s Elvis sugarcoating the King’s abusive marriage to a much-younger Priscilla Presley.
There’s almost a reluctance towards visual creativity, falling to the wayside compared to maximalist efforts like Baz Luhrmann’s glitzy Elvis.
While most musical biopics adhere to clichés and rigid creative parameters, the most effective examples, like “Rocketman” and “Straight Outta Compton,” and even to a lesser degree “Elvis,” succeed because they embrace artistic license and point of view or at least attempt to reframe their subjects.
The best musician biopics—movies like Rocketman, Elvis, and Better Man—never forget their subjects are mortal.
The modern musical biopic is less biography and more hagiography, usually with a great soundtrack. Bohemian Rhapsody, Elvis, and Walk the Line have no interest in telling the real story of the people who made the songs we love.
…as, say, Baz Luhrmann did for Elvis…
Elvis (Baz Luhrmann’s… umm… Elvis)…
The recent efforts have ranged from quite good (Rocketman, Elvis) to rather bad (Bohemian Rhapsody, Back to Black), with most efforts falling somewhere in the middle (One Love, Respect).
Deliver Me From Nowhere is the anti-Elvis, the Baz Luhrmann maximalist epic about Springsteen’s boyhood musical hero that covered all the major beats of the King’s life, but rarely slowed down long enough to let the audience just sit with Elvis and truly get to know him.
Perhaps it’s significant that Warner Bros. were the Studio that made Elvis (Baz Luhrmann, 2023), which touches on such material.
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Austin Butler did it for Elvis, and Daniel Day-Lewis is a master of the craft.
Before long, Col. Parker catches on to the bottomless commercial potential of an artist who could “sell a Black sound with a white face,” as Presley was described in Eugene Jarecki’s excellent 2018 documentary, “The King.”
…although it’s not a biopic of him (much like ELVIS or ROCKETMAN)…
…a neurotic performance from Ethan Hawke that's more reminiscent Tom Hanks in Elvis than it likely was anticipating.
If you thought he carried too much of the Elvis voice into Dune: Part Two or The Bikeriders, the nice thing about Caught Stealing is that his voice has more or less returned to normal…
Between his nearly perfect embodiment of Elvis, his villainous turn as Feyd-Rautha in Dune: Part Two, and now his great lead role in Caught Stealing, Butler is not only proving himself as one of our most versatile performers but also as a bona fide movie star.
Seeing Butler go from Tex in Once Upon a Time in Hollywood to Elvis to Feyd-Rautha in Dune: Part 2 to The Bikeriders to Caught Stealing is watching his star power grow with each performance.
Austin Butler (Elvis, Dune: Part Two) plays former baseball contender Hank Thompson…
…the film stars former Elvis Austin Butler as former baseball player Hank Thompson…
While he was exceptional (and Oscar-nominated) in the otherwise lousy Elvis, it's this film that really proves his movie star bonafides.
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Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical.
The production design, by Karen Murphy (“Elvis”), also deserves mention.
…production designer Karen Murphy (Elvis) play fast and loose with the looks of the decade.
Impressive period production design by Karen Murphy (Elvis) and nifty effects work as movie-obsessed Frank imagines himself on the silver screen offer some distractions from this trainwreck.
…production designer Karen Murphy (“Elvis”)…