Elvis

No other name needed.

There've been quite a few films about the King of Rock n Roll, but only one of them has that Moulin Rouge quality. Yes, Baz Luhrmann is back with his first film in nearly a decade. Is it nothing but a hound dog? Or is it shiny like a pair of blue suede shoes?

Elvis is narrated by his manager, Col. Parker (Tom Hanks), as he dies from a stroke. He tells us how he met the King (Austin Butler) and persuaded him to make him a star. Elvis's wild dance moves make him a hit with the ladies. But stuffy prudes see his wild dance moves as a threat to their moral order. Parker and Elvis have their own ideas on his subsequent public image.

We see Elvis drafted, mourn his mother Gladys (Helen Thomson), romance Priscilla (Olivia DeJonge) and struggle with drug addiction. That's among other things in this 159-minute film. It zips by his life a few times and slows down to a crawl a few more. It's quite disorienting. 

There's a problem with the narration. It's that Parker's perspective often overshadows Elvis. We spend quite a bit learning about Parker before Elvis officially comes in. He's not as nice as he thinks, even if his "snowmanship" is often audaciously clever. Hanks is perfectly sleazy as Parker and the makeup team deserves mention for aging him over the years. 

Elvis is doomed to be a supporting character in his own biopic until his first big show. That's when we see how dynamite Butler's performance is. His stage persona is captivatingly defiant. His off-stage persona is an idealistic and likable man eventually withered down by life. One highlight is his last show, when it seamlessly switches between Butler and Elvis himself, another good showcase for the makeup team. Overall, he feels like how you remember Elvis.

The musical performances are aided by a great sound team and editors Chris Villa and Jonathan Redmond. You'll understand Elvis's appeal in no time when he sings Baby, Let's Play House. Similarly electric is Alton Mason's one-scene cameo as Little Richard. Still, its frantic back-and-forth time-skips are quite off-putting. Luhrmann's wife and artistic collaborator, Catherine Martin, shows off her stellar artistry once again with her sets and costumes. The flashy visual transitions, including those for the dying Parker's mindset, suit the film really well. The comic book rundown of Elvis's backstory is especially fun.

Anyone looking for a showcase of the iconic performer will get one right here. You'll also get a good tale of the men behind the persona. Just be prepared for its shear length and chronological franticness. Elvis is currently in the building, but it won't be long before he leaves for HBOMax. Either way is fine, but the big screen is the closest you'll get to see the King in person. It's sure to make a memorable summer matinee.