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    Movie Review

    Baz Luhrmann's Elvis fails to shake up the myth of music legend

    Alex Bentley
    Jun 22, 2022 | 1:38 pm
    Austin Butler in Elvis.play icon
    Austin Butler in Elvis.
    Photo courtesy of Warner Bros. Pictures

    Doing a “standard” biopic about Elvis Presley in this day and age would be a fool’s errand; as the biggest selling solo artist of all time, his life and everything in it has already been dissected a million times over. That includes movies and documentaries specifically about him, others that use that use his larger-than-life presence as part of another period story, and still others that use his now-iconic face and voice in ways that have nothing to do with his life.

    If anybody can be counted on to not do the typical biopic, it’s writer/director Baz Luhrmann, last seen on the big screen with 2013’s The Great Gatsby. Best known for fantastical films like Romeo + Juliet and Moulin Rouge!, his visual style would seem to be a great fit to show the life of the King of Rock ‘n’ Roll. Unfortunately, as the overlong Elvis shows, it’s one thing to have style, but if you don’t have the substance to back it up, you’re in for a bad landing.

    The film may be named Elvis, but Luhrmann and co-writers Sam Bromell, Craig Pearce, and Jeremy Doner are almost equally interested in the persona of his manager, Colonel Tom Parker (Tom Hanks). As depicted in the film, Parker — then the leader of a traveling carnival — learns about the up-and-coming Presley (Austin Butler) and sets his mind to making him a star. With his guidance, Elvis goes from a singing truck driver in Memphis to the biggest star in the world in a relatively short period of time.

    It's a generally accepted fact that there would be no Elvis as we know him today without Colonel Parker, but it still feels strange to make the movie be as much — or, arguably, more — about Parker than it is about Elvis. There’s also a lot — too much — that you have to infer about the relationship between Elvis and Parker, as Luhrmann is not inclined to dig deep into their bond. But he spends plenty of time on Parker’s gambling addiction, as if understanding that would unlock all the secrets in the story.

    At 159 minutes, the film is much too long, mostly because Luhrmann uses its long running time in odd ways. He becomes obsessed with individual moments, showing them in great detail from multiple angles and using different techniques to try to enhance them. But then he’ll skip over large periods of time, giving the audience little clue as to what happened in the intervening months or years. Also, if you’re prone to seizures, it’s best not to see the film as the number of edits it contains is mind-boggling.

    The biggest disappointment is that it never truly makes modern audiences understand why Elvis was as popular as he was. In a laughable scene the first time we see Elvis perform, girls in the audience are screaming the second that Elvis starts wiggling his hips. But there’s little context as to why they would be reacting in such a manner, especially to someone they don’t know, making it feel like Luhrmann is forcing the issue instead of getting to it organically.

    You also never feel why Elvis’ music was so transformative. Most performance scenes are chopped up into small pieces, so the impact of individual songs is lessened. And then Luhrmann makes the stylistic choice to include modern hip-hop reinterpretations of some songs on the soundtrack, seeming to give more import to those versions than the originals.

    And you can forget about finding out anything about Elvis’ personal relationships. His wife Priscilla (Olivia DeJonge) is present, but how their relationship started or what it meant in Elvis’ life is absent from the film. He is shown to have a friendship with B.B. King (Kelvin Harrison, Jr.) and that he had a reverence for music created by R&B singers, but the filmmakers never interrogate Elvis using Black music as a way to make himself a star.

    As for the main performances, there are times when Butler is absolutely electric. Perhaps even a little too handsome to play Elvis, he gives his all to the role, delivering a convincing performance along the way. Hanks’ acting will be polarizing; his choice of accent is downright strange and anything else he does is overshadowed by the heavy prosthetics he has to wear.

    It’s unclear who Elvis is supposed to be for, as it services neither the hardcore fans who grew up on his music, a younger generation that might be interested in learning more about the mythical musical figure, or film buffs who have enjoyed Luhrmann’s previous movies. It’s a strange, overstuffed slog of a film in desperate need of better filmmaking decisions.

    ---

    Elvis opens in theaters on June 24.

    Austin Butler in Elvis.

    Austin Butler in Elvis
      
    Photo courtesy of Warner Bros. Pictures
    Austin Butler in Elvis.
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    Concert News

    Rapper Lil Wayne gets nostalgic on 2025 tour with stop in Dallas

    Alex Bentley
    Jun 3, 2025 | 10:53 am
    Lil Wayne
    Photo courtesy of Republic Records
    Lil Wayne will perform at Dos Equis Pavilion on September 17.

    Lil Wayne is returning to his favorite title with both a new album and extensive 2025 tour, which will include a stop at Dos Equis Pavilion in Dallas on Wednesday, September 17.

    Both the tour and album are named Tha Carter VI, the sixth in a series that nods to Lil Wayne's birth name, Dwayne Carter Jr.

    The rapper will play a special album release show in New York on June 6, with the main tour starting on July 30 in Bristow, Virginia.

    The tour is scheduled to run for just over two months, with additional Texas stops in Austin on September 16 and The Woodlands on September 18.

    With the tour, Lil Wayne is not only celebrating the release of his new album, but also paying tribute to the long series, which started in 2004 with the original Tha Carter.

    The tour will feature special guests Tyga and Belly Gang Kushington across all dates. NoCap will also be on hand for a variety of shows, including The Woodlands.

    For 26 years, Lil Wayne has remained one of the most popular artists in his genre. Each of his albums that was widely released has come in at either No. 1 or No. 2 on Billboard's R&B/Hip Hop chart, and all but one of them made the top 10 on the overall Billboard 200.

    Tickets for the tour will be available starting with artist presale beginning on Wednesday, June 4. Additional presales will run throughout the week ahead of the general on-sale beginning on Friday, June 6 at 10 am at LiveNation.com.

    THA CARTER VI 2025 TOUR DATES

    • Fri Jun 06 – New York, NY – Madison Square Garden
    • Wed Jul 30 – Bristow, VA – Jiffy Lube Live
    • Fri Aug 01 – Virginia Beach, VA – Veterans United Home Loans Amphitheater at Virginia Beach
    • Sat Aug 02 – Atlantic City, NJ – Boardwalk Hall
    • Sun Aug 03 – Holmdel, NJ – PNC Bank Arts Center
    • Tue Aug 05 – Hartford, CT – Xfinity Theatre
    • Wed Aug 06 – Mansfield, MA – Xfinity Center
    • Fri Aug 08 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview
    • Sat Aug 09 – Buffalo, NY – Darien Lake Amphitheater
    • Mon Aug 11 – Toronto, ON – Budweiser Stage
    • Thu Aug 14 – Cuyahoga Falls, OH – Blossom Music Center
    • Sat Aug 16 – Cincinnati, OH – Riverbend Music Center
    • Sun Aug 17 – Noblesville, IN – Ruoff Music Center
    • Wed Aug 20 – Minneapolis, MN – Target Center
    • Fri Aug 22 – Milwaukee, WI – American Family Insurance Amphitheater
    • Sat Aug 23 – Detroit, MI – Little Caesars Arena
    • Sun Aug 24 – Tinley Park, IL – Credit Union 1 Amphitheatre
    • Tue Aug 26 – Kansas City, MO – T-Mobile Center
    • Fri Aug 29 – Phoenix, AZ – Talking Stick Resort Amphitheatre
    • Mon Sep 01 – Ridgefield, WA – Cascades Amphitheater
    • Wed Sep 03 – Seattle, WA – Climate Pledge Arena
    • Fri Sep 05 – Mountain View, CA – Shoreline Amphitheatre
    • Sat Sep 06 – Sacramento, CA – Golden 1 Center
    • Wed Sep 10 – Chula Vista, CA – North Island Credit Union Amphitheatre
    • Fri Sep 12 – Los Angeles, CA – Crypto.com Arena
    • Sun Sep 14 – Albuquerque, NM – Isleta Amphitheater
    • Tue Sep 16 – Austin, TX – Germania Insurance Amphitheater
    • Wed Sep 17 – Dallas, TX – Dos Equis Pavilion
    • Thu Sep 18 – The Woodlands, TX – The Cynthia Woods Mitchell Pavilion Presented by Huntsman
    • Mon Sep 22 – Oklahoma City, OK – Paycom Center
    • Wed Sep 24 – Huntsville, AL – The Orion Amphitheater
    • Thu Sep 25 – Charlotte, NC – PNC Music Pavilion
    • Mon Sep 29 – Atlanta, GA – State Farm Arena
    • Wed Oct 01 – Orlando, FL – Kia Center
    • Thu Oct 02 – West Palm Beach, FL – iTHINK Financial Amphitheatre
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