It can’t be helped to fall in love with Austin Butler.
The 30-year-old actor, who has mainly appeared on clumsy TV shows such as “Carry’s Diary,” bends down and sits down as Elvis Presley, a new biography like Baz Luhrmann’s Mangekyou. Shake.
Execution time: 159 minutes. Rated PG-13 (substance abuse, improper language, blasphemous expressions, smoking). At the theater.
The king is one helluva tough mission.
Whimsical Las Vegas spoofing, the catchphrase “Thank you, thank you”, white jumpsuits, weight gain in later years, and of course, some people die in the bathroom at the age of 42.
Bruce Springsteen and Paul Simon aren’t so dignified because of such a peculiar figure of music that is still readily recognizable to teens today.
Rahman’s very entertaining film and Butler’s sensational performance are completely obsessed with correcting that mistake. The movie “Elvis,” screened on jet fuel and snowstorm, is a tribute to Presley’s innovative spirit, his deep passion for the fusion of blues, country music and gospel music, and his strong connection with the audience. Elvis, inspired by black musicians like BB King (Kelvin Harrison Jr.) and Little Richard (Alton Mason, exceptional), is another focus.
In a broader sense, the film is about the unique struggle of customs that has become super-famous in social turmoil, has improved visibility, and changes rapidly from the 1950s to the 1970s. In just 20 years, the King has benefited the old men from the obscene disturbers of peace.
But what makes Rahman unsurprisingly best is his victory on the Elvis stage. As we did in “Moulin Rouge!”, Australian directors interpret the moment nearly 70 years ago with wide open, contemporary eyes and bohemian sexuality. In an early show before going on tour with the lovely boy Hank Snow, Elvis begins to shake and the girl in the crowd shouts “crucible” to blame the witch. You will want to scream with them. .. .. But keep your underwear on.
“Hound Dog,” “Can’t Help Falling In Love,” “Suspicious Minds,” “Blue Suede Shoes,” etc. are violent and exciting. And Butler and Rahman don’t settle for nostalgia with them — they’re electrical and on your face.
“Elvis” is a long movie, most of which is dedicated to the pitfalls of fame. He met Prisila (Olivia Dejon) while serving abroad in Germany. Lisa Marie was born. But he sleeps around his wife during the tour, pops pills, and pushes him to compromise the identity that fans love him, his sneaky manager, Colonel Tom Parker (Tom Parker). Has a destructive relationship with Hanks).
The villain is Hanks as Elvis’s eccentric and opportunistic manager, both in story and in real life. What was he thinking? The actor scratches his voice, aiming at Razzy, perhaps to add to Parker’s secret inside story, as Forrest Gump meets Lampelstiltzkin. The problem is that Parker has never sounded so ridiculous and Hanks’ Anna Delvey’s take is distracting. Whenever he was on the screen, that pointless brogue was always in my head.
At least until Butler returns to the building. From 1955 to 1977, the actor grew up with delicacy and credibility, and was not trapped behind his prosthesis or helped by computer-generated images. Also, he never gives in to a stupid impression. He grabs us with a collar and never let go. Being as good as Elvis will either explode his career or push it into a mouse hole.
Rahman, on the other hand, is the modern director Coriander. You spit him out or fill the salsa with him.I say, Gimme trout.. When most of his contemporaries are in a coma, he is vibrant and spectacular. His film is bloated, but it’s better to spend 2 hours and 40 minutes of our lives on Elvis Presley rather than the Season 4 finale of “Stranger Things.”
Moreover, Lurhmann was the only one who knew what the Elvis heritage needed to be in 2022.
Austin Butler is dazzling as a king
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