‘Elvis’ can’t make a good movie

Director Baz Luhrmann has done something incredible: made six movies, each worse than the last. After the “The Great Gatsby” fiasco, he was on the verge of infamy and now Luhrmann has done something terrible with “Elvis.” Austin Butler won the role as Mr. Presley and he is a good Elvis impersonator, but you can see his likeness every night wandering off-Strip in search of the best entertainment series in Vegas.

The movie is over two and a half hours long, and audiences spend most of that time trying to figure out what’s going on with Tom Hanks’ voice acting as Elvis’ director. Colonel Tom Parker. It’s a rich blend of Southern Dutch and West Virginia influences that sounds different every time the Colonel opens his mouth, meaning the entire story is told on the phone. from his bed. You are looking at this fat man, thanks to the work done by the jowl artists of the film, who pushed themselves to the limit with the wide jaws of the Colonel.

He became the multimillionaire manager of a superstar but at heart Parker was a vendor at the carnival in the middle. He sells “I Love Elvis” buttons and he sells “I Hate Elvis” buttons. He made Elvis a video for “Hound Dog” running with a real basset hound. He does small business with mobsters while Elvis sings “Suspicious Minds” on stage. The film repeats and repeats that the Colonel is a master of the art of “ice-making,” the ability to deceive the rubes in the Big Top… his waist and lose their minds.

In the entire run, we didn’t hear a single Elvis song played in its entirety. We have little insight into the creative process of the King of Rock and Roll, other than his penchant for stealing music made by black people. There are elements of John Leguizamo’s Tybalt from “Romeo + Juliet” in Butler’s clothing choices and his self-esteem, but we don’t learn why, even before he got his money, he chose Elvis dresses, sings and sings like he does.

Elvis is not blessed with low-key portraits of the most important people in his life: his mother (Helen Thomson), father (Richard Roxburgh), and his wife Priscilla (Olivia DeJonge). The biggest sin was his lack of relationship with Priscilla. When he leaves her, she asks, “Do you remember the last time we laughed together?” This movie will never happen.

“Elvis” was mixed with the same idea, as if Luhrmann dropped a child in the sea of ​​correction and let him press every button. But the film also suffers from inaccuracies, like when we see the giant “E” and the “L” placed on the International Hotel marquee twice in a row. Other failed attempts at pop entertainment include comic book panels, animated magazines, and a busy montage that fast-forwards through the middle years of Elvis’ career.

Luhrmann does everything – Graceland is CGI, the red Cadillac is CGI, a shot of a private jet on a tarmac needs serious work. Butler is crazy all around, painted like a dime-store prostitute, but she’s less funny than Hanks with his Santa Claus pillow tucked under his shirt. There’s a sense of unreality about the movie, which was shot in Australia—it’s not like Memphis or Las Vegas and it might have been shot in a movie theater.

Luhrmann always falsifies the documentaries because the truth is, we want to see the real Elvis, a beautiful and annoying actor, whose talents are more than this trash and you can only be ashamed of the release of the film.

“Elvis” is very trashy but, despite the fact that it’s the “House of Gucci,” many people feel compelled to neck in a movie theater. In the end, you are left with one question: Is Luhrmann in trouble or am I? Although we don’t see Elvis eating a peanut butter, banana and bacon sandwich, Butler gives Hanks a sweet tooth in the closing scenes. If nothing else, the overstuffed movie makes it feel like you might be on the verge of having a massive coronary and dying on your bathroom floor.

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