Elvis (2022) Review
THIS AIN’T NO NOSTALGIA SHOW. WE’RE
GONNA DO SOMETHING A LITTLE DIFFERENT!
Over the years, the dramatic efforts of biopic endeavors have been something of a cinematic fascination with Hollywood, finding filmmaking talents both in front and behind the camera flocking to be a part of these theatrical motion pictures. While the idea of creating a biographical feature film about someone and / or some event isn’t anything new, it is something that’s quite beguiling of capturing the essence / mystique of a character who is based in real life and presenting he / she for a dramatic picture. Some of these endeavors might shed light on their entire life (providing the “life and times” of a particular person), while others might focus on a particular moment and / or a significant point of their lives. Recently, Hollywood has found an interesting fascination within the music industry of famed artists; recounting the ups and downs of some of the industry most celebrated individuals that have defined an age and become legends themselves. This includes the look into the life of Freddie Mercury and the popular UK band Queen in 2018’s Bohemian Rhapsody, the “based on a true fantasy” narrative of UK icon Elton John in 2019’s Rocketman, and the rise to stardom of the powerful “soul queen” Aretha Franklin in 2021’s Respect. Now, Warner Bros. Picture Studios and director Baz Luhrmann present the latest biographical drama that looks into the life of Elvis Presley in the feature appropriately titled Elvis. Does the film find its “soul” in adapting the complex story of Presley’s poignant life or does it do a disservice the iconic “king”?
Nearing the end of his life in La Vegas, Colonel Tom Parker (Tom Hanks) finds his head spinning with past memories of his time with Elvis Presley (Austin Butler). Parker tracks his presence in the young man’s life, discovering the singer as a student of both gospel and R&B music, working to get past stage fright and bring a new voice to an old sound. Believing that he found an untapped gold mine in Presley’s voice and performance, Parker, who is a pervasive man of a long con after years of spent with the traveling carnival circus, swoops up the young man and turns him into a profit machine; sky-rocketing Elvis into an undeniable phenomenon in the younger generation, which draws ire from conservative movers and shakers. Over time, Elvis took over America, married Priscilla (Olivia DeJonge), and kept friends and family on the payroll in their private Graceland estate. Yet, despite the fame and fortune he had received, the manipulation and machination behind Parker’s greedy interest are always behind Elvis’s decisions; ensnaring and entangling the popular musician, creating a divide between the men as the superstar begins to burn out in the latter part of his career.
THE GOOD / THE BAD
Borrowing a few lines from my review of Tolkien….. Within the many viewings of movies that I’ve seeing over the years, biopic dramas features are (to me) quite endearing to watch. Most of these endeavors are pretty well-made and usually a sense of “Oscar-bait” and / or “award contenders” from upcoming award seasons in Hollywood. To that degree, the features being told have also been quite compelling to watch, especially ones that uncover the lives of pronounced individuals and the affect that they left on history. Redirecting to what I mentioned in the opening paragraph, the recent fascination of adapting bio-pics movies that center around musical icons and artist is quite interesting. Of course, some of these individuals have been well-documented throughout the course of their lifespans and beyond, yet there is always more to say and do. What made the famous? What drove them? Who was behind their insecurities and downfall? How did they cope with adversary as famed talents? Naturally, the movies I mentioned do shine a light on the superstars, with Bohemian Rhapsody showing Freddie Mercury’s life, who wrestles with his identity and managing his time with business partners / band mates, while Rocketman presents a similar notion of depicting Elton John’s past struggles and identity have an effect on his music career and relationships as well as Aretha Franklin, who struggled with loved ones and finding her own self-worth in the music business as seeing the film Respect. Naturally, the acting talents involved in these films rose to the challenge and captured some terrific performances, with actors Rami Malek and Taron Egerton multi-faceted adaptations of Freddie and Elton, while Hudson delivers a riveting portrayal of Aretha. Of course, their legacy in the music industry as made their “claiming to fame”, with the respected movies showcasing the high points of musical kaleidoscope carousel from the mini-concert ending in Bohemian Rhapsody, to the song-filled fantasy escapades in Rocketman, and soulful and powerful voice that is shown in Respect. Which one is my favorite? Well, it’s kind of hard to say. It’s a tossup from Bohemian Rhapsody and Rocketman. Not to disrespect the movie Respect (nor Franklin’s legacy), but I found the other two entries to be more entertaining and engaging. Nevertheless, the recent music bio-pic endeavors from Hollywood seem to capture the imagination of reimagining iconic singers, talents, and artists into a cinematic light that encapsulates the celebration of their music as well as holding up the mirror of their lives in a unvarnished way of the brilliance and madness at the same time.
This, of course, brings me back to talking about Elvis, a 2022 biographical music drama and the latest project to take a look into the life of another iconic artist of the industry. As I mentioned, given the success that both Bohemian Rhapsody and Rocketman had received, it was almost a forgone conclusion that many of the Hollywood Studios would try to emulate this particular success of musical biopics from such of the most iconic singer and musician in the industry. Thus, it was soon after announced that a movie about Elvis Presley was in the works at Warner Bros., with director Baz Luhrmann attached to helm this particular project. After that, I really didn’t hear much about this movie until I saw the film’s movie trailer, which I forgot to post my movie blog (sorry about that). To be sure, it looked like what it was going to be…. a cinematic tale that highlighted the journey of Elvis’s life through the ups and downs of his personal life and his musical career. Yet, I was a little bit more intrigued when I saw (in the film’s movie trailers) that performances by actors Tom Hanks and Austin Butler, with the latter being a relative newcomer on the mainstream scene. To be even more honest, I remember hearing that Butler was recently cast in the role Feyd-Rautha in Denis Villeneuve’s upcoming Dune: Part Two, so (naturally) I wanted to see the relatively unknown actor’s acting chops in Elvis before playing Frank Hebert’s iconic literary character the following year. In addition, I heard a lot of advance reviews about Elvis, with many stating that it honored Presley’s life as well as giving praise to Luhrmann’s direction as well as Hanks and Butler’s performances. Thus, I was quite keen on seeing Elvis when it was set to have a theatrical release starting on June 24th, 2022. I did see the film a week after its release, but I had to push my review back a few weeks for it as I was still playing a bit of “catch-up” of movie reviews. Now, I have the time to share my personal thoughts and feelings towards the feature. And what did I think of it? Well, I actually really liked it. Despite a few problems here and there, Elvis is strikingly bold and flashy look into Presley’s life story, with Luhrmann capturing the vibrancy, music, and passion into the artist journey in a rather touching and beautiful way. It Isn’t not the quintessential biopic film of the ages, but it’s sheer style, sincerity drama, and accompanied music from the fame artist delivers a passionate project worth of the “kings” name.
Elvis is directed by Baz Luhrmann, whose previous directorial works includes such films as Romeo + Juliet, Moulin Rouge, and The Great Gatsby. Given his background and overall directorial films that he has produced over the years, which receive both praise and scrutiny over the years for flashy style and execution, Luhrmann seemed like more of suitable choice to direct Rocketman more so than Elvis; finding Elton John’s musical life more to is taking by exploring the musical fantasy aspect with the director’s flourishes vibrancy and sometimes zaniness. Nevertheless, Luhrmann is at the helm of this particular film and actually does a great job in shaping the feature in both to his unique filmmaking style as well as presenting Presley’s life narrative on the big screen. As seeing through his past work, Luhrmann has always been the type of director that has favor “style over substance”, with his directorial works far more interested in the technical presentation and visual appeal than creating a well-rounded feature of balanced narration of story and characters. While the movie does have this problem (more on that below), Luhrmann does have a better hand on the wheel; finding a more focused storytelling vehicle with Elvis and keeping a tighter grip on his primary two players…. Elvis Presley and Colonel Tom Parker, both as individual and has talent and manager. That’s not to say that Luhrmann’s normal flourishes and visual presentation and style are not in the movie (and they sure are), but it utilized in help feature’s entertainment value as well as keeping an understanding on its subject matter. With a lot of attention being focused on the showmanship and performances of Presley’s musical career, Elvis plays to Luhrmann’s strength, yet also finds a nice rhythm in its more quieter and / or dramatic moments that take place “off-stage”, with some great character interactions between the film’s protagonist and antagonist. Plus, I did find it interesting that Luhrmann decides to frame the feature around Parker’s recollection of the main events surrounding Presley, with Elvis presented as a flashback and with Parker narrating it.
Of course, one of the big highlights that Elvis brings to the proceedings is all the classic and memorable hits that Presley was known for, with Luhrmann playing up those famous songs in a delightful carousel. It was great to hear them all from “Hound Dog”, “If I Can Dream”, “Can’t Help Falling in Love”, and “Unchained Melody” as well as many more. Naturally, the film’s music harkens to the on-stage performances that are displayed throughout the movie, and this is where Luhrmann excels the most. While not all performances are long, with the exception of a few (and I would’ve liked to seen more elongated ones), each one has a great energy and style that definitely lifts the movie up with such vigor and excitement. It’s quite easy to tell that Luhrmann’s talent are put to good use on these portions and they do “stick out” more so than what a normal straight-forward director would’ve done. Plus, even more interesting to see that the movie harkens back to Presley’s inspiration for some of these songs by playing respect to some jazz and blues musician / singer that used them first. Thus, the remakes that Elvis utilizes with his own style of music is quite interesting as well as honoring (by showcasing) the source of inspiration for the African community, the jazz and blues cultural scene of the era, as well as Elvis’s musical roots. It all works together in a more harmonious way, including with Luhrmann’s knack for visual flair, and I think that the director did a good job in representing all of it into the feature.
In terms of the film’s story, Elvis is quite interesting as it is a reflection of not just about Presley’s life, but also of the musical influences that inspired him that made his career in the industry that much more controversial and legendary at the same time. What do I mean? Well, for starters, I will say that I personally didn’t know much about Elvis Presley. I know, I know…. it’s the truth. Of course, I knew of all the songs that he did, the famous get-up he wore, his residency stint in Las Vegas, his marriage to Priscilla, and his Graceland home in Memphis, Tennessee. Beyond that, I really didn’t know much about Elvis’s life. As I stated above, the image of him has been steeped in mainstream popular culture references that the portrayal of Presley has become a parody unto itself and (in truth) that’s where I was introduced to the iconic Elvis. Even with his life being well-documented on numerous occasions, I really didn’t know that much about Elvis, which is what really fascinated me with this particular biopic representation. The script, which was penned by Luhrmann as well as Sam Bromell, Craig Pearce, and Jeremy Doner, delves into the placement of Elvis during various points of his life; showcasing a young man on the cusp of fame, popularity, and controversy as well as vulnerable human who seems lost and struggling to find his true “voice”. To me, this was quite interesting to see as well as seeing the variety of inspirations that took Elvis to find his sound and voice, especially in the Jazz and Blues musical realm from African American culture. Of course, the script does play a little “fast and loose” on what it was convey about Presley’s life (more on that below), but I felt that story being told in Elvis is on fire and passion, with Luhrmann savoring the explosive fire within Presley’s showmanship and personal quandaries, while his manager scheme and plotted to suck the talented musician dry. From the script itself, it’s quite crystal clear on who is the hero and villain of the picture, yet the script still manages to find heart and soul within the context in the Presley / Parker relationship. Plus, the movie itself touches upon most of what made Elvis famous (pros and cons) to do the cinematic representation of the iconic artist justice and surely does portray this musician in a very interesting light.
For its presentation, Elvis is most definitely a Baz Luhrmann production, with the visual style and bold flair that speaks to the director’s taste as well as in the cinematic story of recounting Elvis Presley’s life. If you’re a fan of Luhrmann’s work, then you’ll know what I mean. Yet, that is a really good, with the director’s passion for visual representation comes alive in the movie, with particular attention to detail to the movie’s time era of the late 50s to early 70s. Much like capturing the roaring 20s glitzy feeling from The Great Gatsby, Luhrmann and his team place a large emphasis on the background setting and costume attire for the film and do wonders for a terrific presentation. This includes some of the major “behind the scenes” players such as Catherine Martin and Karen Murphy (production design), Shaun Berry, Beverly Dunn, and Daniel Reader (set decorations), Catherine Martin (costume designer), the entire art direction team, and the whole hair / make-up department, who really do make the story of Elvis Presley come alive on the silver screen with such great taste, attention to detail, and stylish razzmatazz in the film’s background setting. Even the film’s editing (a category which I usually don’t mention that quite often) is solid across the entire film, with the efforts made by Jonathan Redmond and Matt Villa for making Elvis’s various quick shots / splicing scenes together with such zip and frenetic finesse. Additionally, the film’s cinematography work by Mandy Walker, who previously work includes Luhrmann’s Australia as well as other projects like Mulan and Hidden Figures, delivers a striking work throughout the film, with some fantastic shots, camera angles, and lightening / shadowing effect to make the feature’s scenes come alive with cinematic flair. Again, something befitting Luhrmann’s work / vision. Lastly, while feature does make for a good musical carousel of Presley’s iconic songs and numbers, the film’s score, which was composed by Elliot Wheeler, deliver a fine collection of background soundtrack pieces that definitely do work with each of the various scenes….be it dramatic ones or quieter dialogue ones.
There were a few points of criticism that I had with Elvis that, while not completely derailing or dismaying my overall enjoyment of the feature, did feel like problematic areas that needed to be ironed out during the film’s shaping and overall execution. Perhaps the strongest point of criticism that had with the movie is that the movie glosses over a few key moments in Presley’s life. As mentioned above, the script handling certainly plays “fast and loose” on what he (Luhrmann) wants to accomplish in retelling the musician’s story, minimalism some of the finer details and lightly skipping through some of the moments in Presley’s life. This is demonstrated in the film’s first act, which is sort of dances around the younger years of Elvis’ life. It’s a bit disappointed because the upbringing of Elvis’s life from child to a young man is quite interesting and poignant and it’s a shame that the script doesn’t delve more deeper into this particular part of Presley’s story. This is also felt during the second act of the movie when the narrative is mentioned Elvis’s years in Hollywood, which is roughly around the early to mid-1960s timeline era. Again, this portion of Presley’s life is touched upon, but only briefly and sort of glosses over the effects of Elvis as an actor and his many appearances in motion pictures. Even the film’s ending, where Elvis is a bit fuller in the face, heavier, and wrestling with depression, sort of glances at this crucial moment in his life, with the script seeing it as a finale part to the film and not something to fully examine properly. Heck, even more time at Graceland, Elvis’s private sanctuary dwelling, would’ve been nice to see. To me, this didn’t bother me a great deal as I knew that compressing Elvis Presely’s life into a theatrical feature film wasn’t exactly going to be a perfect fit (usually biopic movies often struggle with this concept), but it would’ve been nice to see some of these areas expanded upon a bit more than what was given.
Another big point of criticism that I had with the movie is the movie itself is feels quite long. I know I just stated above that I wished for Elvis to expand upon certain scenarios and details a bit more, which would’ve caused the movie to have a longer runtime, but the movie felt like a three hour plus endeavor, with several pacing issues along the way. It’s not for a lack of trying on Luhrmann’s part as the director (as well as the script handling) for wanting to encompass many various aspects of Presley’s narrative, but with a feature runtime of 159 minutes (two hours and thirty-nine minutes), the movie does feel quite long, which causes some pacing issues at certain points of the story; creating a few snags of choppiness along the way. Another problem (well, maybe a minor complaint about Luhrmann’s direction) is how sometimes a bit wonky the first act of Elvis can be. It’s kind of hard to say that it exactly is, but if one takes a look back at Luhrmann’s work, especially Romeo + Juliet, Moulin Rouge, Australia, and The Great Gatsby, the opening act for these movies are a little bit “off-kilter” in some way, shape, of form (i.e. fast talking, very quick editing, goofy humor, blaring music / noise, etc.). Elvis definitely follows the course in this regard, with the first fifteen to twenty minutes of the feature having that “Luhrmann style” the punctures the beginning part of the movie. Although, the film does smooth eventually, with Luhrmann finding a steadier rhythm once everything gets going. This is mostly a style choice as some might not get bothered by it, but I always feel like the opening for his movie to be a bit “jarring” at times.
What definitely elevates those points of criticism is the cast of Elvis, which are solid all the way around and are up for the chance to play such characters, most of which are famous for being around Presley’s life as well as iconic musician artist of the time. Leading the charge in the film is the actual subject matter of the feature, with actor Austin Butler playing the protagonist role of Elvis Presley. As mentioned earlier, Butler, who is known for his roles in The Carrie Diaries, The Shannara Chronicles, and Once Upon a Time…..in Hollywood, is a somewhat relatively unknown actor and, although he has appeared in several projects in his career, none of them have given him the platform in mainstream cinematic media or the position in a prominent lead role than in this particular film. Thus, Elvis is (at the moment of writing this review), Butler’s most ambitious acting role of his career and I do have to say that he nails wholeheartedly with thespian vigor and heartfelt sincerity. From his mannerism when conversing with people to his gyrating moves while on stage, Butler replicates Presley’s bodily movement down to the letter; embodying the famed musician with effortless easy and confidant swagger that could even make the “king” himself blush with admiration for his theatrical doppelganger. Plus, the way he looks through the usage of wardrobe costumes and hair / make-up as well as dialect and diction to mimic Presley iconic sounding voice. It’s a very multi-faceted and performance, with Butler giving his all to completely nail the role with grace and dignity to Presley’s legacy…..and he absolutely does in aces and spades. Butler is electrifying when he’s on stage, with charismatic showmanship and gleeful razzle-dazzle pizzazz that that the talented musician was known for. Even off-stage, the movie allows Butler to shine by providing plenty of moments of displaying a very vulnerable and conflicted man, who is rocked by the changing of the times as well as the manipulation made by his manager. As mentioned, I’m sure a few events were a bit embellished, with Luhrmann’s nudging more dramatic flair in a few scenes here and there, but I felt that Butler gave a very strong and striking performance as Elvis Presley; one that honors the man and gives poignancy to the actor’s talent. Here’s hoping that he gets nominated for this particular role in the upcoming award season. He’s almost a surefire slam dunk win for his striking portrayal of Elvis Presley. And (as a side-note), given how much I liked him in this movie, now I can’t wait to see how he handles the character of Feyd-Rautha in Dune: Part Two.
The other big and memorable star attraction in Elvis would have to be actor Tom Hanks, who plays the role of Colonel Tom Parker (also referred to as the “Snowman”), the scheming mastermind manager of Elvis Presley. Known for his roles in Forrest Gump, Saving Private Ryan, and Sully, has always been a great character actor throughout his career and has demonstrated a great catalogue library of such memorable and iconic performances, with some being recognized at awards shows. Thus, Hanks is definitely a very well-rounded actor that deserves a lot of praise for his credibility as well as his character performances he’s done over the years. In truth, most (if not all) of his roles are of the good-natured variety that ranges from the honorable everyman to well-demeanor individual, which is strange because his character’s behavior in Elvis is quite the opposite in what the actor is usually drawn to. Hanks’s portrayal of the Colonel Tom Parker is definitely quite interesting, especially since most of the feature is being recalled by him, including Hanks’s providing the narration for it. He lays it on thick with his almost “moustache twirling” vibes, but definitely has fun playing such a role and it clearly shows whenever he’s on-screen…..even with the heavy prosthetics on him. Plus, it’s quite interesting that the character of the “Colonel” manipulates everything around Presley’s career and how the machinations “behind the scenes” were interwoven. In the end, for better or worse, Hanks excels in the role of the villain in Elvis; projecting the right amount of scheming and manipulation that the Snowman had weave in ensnaring Presley in his web.
With so much of the film’s screen time being focused on both Butler and Hanks (and justly so), a majority of the movie’s supporting characters sort of get placed on the backburner. Of course, the acting talent behind these characters are top-notch and are great, but the feature’s script-handling doesn’t give much material to this particular characters. Who is the perfect example of this comes in the form of Priscilla Beaulieu (later to be known as Priscilla Presley) and who is played by actress Olivia DeJonge (The Staircase and Will). To her credit, DeJonge does a good job in the role, especially in her costume wardrobe and hair / make-up to make the iconic wife of Elvis come alive on screen, but there is something missing about her character. It’s not on DeJonge, but rather the script / screen-time that is allotted to her in the film, which places the character of Priscilla on the backburner many of times; acting as the more concerned wife. I just wish that there was more time given to the character, especially since she played a major part in Presley’s life. Additionally, the other big disappointing supporting character (or rather characters) are the close-friends of Elvis in the movie. Can’t remember there exactly character names or even the actors that play them, but most of them make up his close entourage for most of the film, which is strange because Presley’s relationship with them seems quite palpable and they do surround him throughout most of his career…..both in his time at Graceland as well as “on the road” during his performances. Given the amount of time that is allotted for the film’s supporting characters and a larger emphasis on Presley / Parker’s screen time, it’s a bit understandable why Luhrmann decided not to go into the finer details of Elvis’s friends, yet (at the same time) felt like there was a missed opportunity to not fleshing out one or two of them for some great character dialogue moments that could’ve been shared.
The rest of the cast, including actress Helen Thomson (Stupid Stupid Man and Bad Mothers) as Elvis’s mother Gladys Presley, actor Richard Roxburgh (Moulin Rouge! and Van Helsing) as Elvis’s father Vernon Presley, actor Kelvin Harrison Jr. (It Comes at Night and Cyrano) as famed musician artist B.B. King, actor David Wenham (Australia and The Lord of the Rings: The Two Towers) as American country singer Hank Snow, actor Kodi Smit-McPhee (Dawn of the Planet of the Apes and The Power of the Dog) as Hank’s son Jimmie Rodgers Snow, actor Luke Bracey (Point Break and Hacksaw Ridge) as talent manger Jerry Schilling, actor Dacre Montgomery (Stranger Things and Power Rangers) as television show producer / director Steve Binder, actor Leon Ford (The Pacific and The Letdown) as the Colonel’s spokesperson Tom Diskin, actor / composer Gary Clarke Jr. (Deepwater Horizon and Justice League) as Blues singer Arthur “Big Boy” Crudup, musician singer Yola Quartey (Yola: Shady Grove and Central Park) as singer / guitarist Sister Rosetta Tharpe, male model Alton Mason as musician singer Little Richard, actress Kate Mulvany (Hunters and The Great Gatsby) as Marion Keisker, actor Josh McConville (Fantasy Island and Home and Away) as Sam Phillips, actor Christopher Sommers (The Bureau of Magical Things and The Water Diviner) as Horace Logan, actor Xavier Samuel (Fury and Love & Friendship) as Scotty Moore, actor / writer Adam Dunn (Drunk History: Australia and Crossing Paths) as bassist player William Patton Black Jr., Australian drummer Terepai Richmond as drummer D.J. Fontana, actress Natasha Bassett (Hail, Caesar! and Camp) as Dixie Locke, actor Nicholas Bell (Mighty Morphin’ Power Rangers and Dark City) as Senator James Eastland, actress Cle Morgan (Wentworth and Get Krackin) as Mahalia Jackson, and actress Shonka Dukureh (who makes her debut in the film) as singer Big Mamma Thornton, are delegated to minor supporting roles in the movie. By design, these particular characters in Elvis have limited screen time, but the talents who play these parts are solid across the board, especially the ones that have to emote sing and music to their performances. All around good selection of talent from everyone in this category.
The man, the myth, and the legendary “king of rock and roll” has made an illustrious musical career through his own unique style and songs. Now, get ready to learn the truth behind the icon and the personal struggles he had to deal with in the movie Elvis. Director Baz Luhrmann’s latest film takes a cinematic look into the life and times of Elvis Presley and how his rise to stardom and popularity as well as counterbalance challenges of his own personal demons and the greed and control of his manager. While feature does hit a few snags within its undertaking (mostly in the feature’s pacing, a few “styles over substance” moments, and lacking in some of the supporting characters), the movie raises above those moments and deliver profound cinematic endeavor, thanks to Luhrmann’s direction, a stylish presentation (background setting, costumes, hair / make-up), great musical performances / execution, and a great cast involved, especially in Butler and Hanks’s performances. Personally, I really liked this movie. Yes, there were some issues I had with the film’s length and few aspects, but I felt that the film itself was greatly handled and embodied the “life and times” of Elvis Presley and the struggles and triumphs he faced during both his musical career and personal life. Plus, as I said, Butler and Hanks were phenomenal in the movie and deserve the utmost praise that the pair has received for their performances in the film. Personally, it was probably one of the better Baz Luhrmann movies. Thus, my recommendation for the movie is a solid “high recommended” as I’m sure fans of the iconic musician will love it and will be entertained by it as well as the causal moviegoer. This movie definitely feels like a strong contender during the upcoming award season, and I would love to see project get some nominations and wins. It’s just that good! In the end, Elvis is both dramatically and musically charged project that does what it sets out to do by displaying a stylish and palpable experience of seeing Presley’s greatest lows and highs in his life, while wrapping it all up in Luhrmann’s signature flair of moviemaking. Much like what Elvis says in one scene in the film “This ain’t no nostalgia show. We’re gonna do something a little different” ….. and that’s what Elvis is….to the letter!
4.4 Out of (Highly Recommended)
Released On: June 24th, 2022
Reviewed On: July 16th, 2022
Elvis is 159 minutes long and is rated PG-13 for substance abuse, strong language, suggestive material, and smoking