Elvis (2022): Biography/Drama/Music

The blessings and tribulations of the man who left behind him an everlasting legacy.

Mesmerising, vibrant, insightful, and saddening. The beauty of Buz Luhrmann’s films lies, predominantly, in his sense of pace and rhythm; in his sense of editing. Elvis introduces a “superhero” whose powers are music and showmanship, and Luhrmann comes on really strong, really fast. In the first half hour, he manages to build the foundation of an icon that is destined to follow a meteorite’s trajectory. What comes next is the introduction of tribulations of the still rapidly rising star. Segregation laws, massive hysteria, national paranoia, and personally costly decisions shape the image of a man, unknown to the public, who has to face demons as you and I do. And Luhrmann showcases that the world keeps changing while trying to fit Elvis in it – while not sparing the details of how hard that is. Notably, finding and losing (only to find one last time) that place, when everything around moves so fast, is the most crucial part of the hero’s journey.

Luhrmann puts on an electrifying and prestigious show! He builds up the rise and (internal) fall of Elvis as we know him. Now is the time though to praise the people who are also responsible for that show. First and foremost Austin Butler (Elvis) – who we might see at the Oscars. He took the role amongst A-list actors way more known than he is and all I can say is that he fully deserved it. His performance now will always be associated with Elvis Presley; he became Elvis Presley. Tom Hanks shines as his disgusting manager, he is inarguably one of the greatest actors alive. Sam Bromell, Craig Pearce, and Jeremy Doner kept the script non-linear and tight and offered a fresh and unique perspective. Mandy Walker whose lens expresses all the intended feelings. Jonathan Redmond and Matt Villa masterly weave these feelings together and lead to my very first comment on the immaculate pace and rhythm that flows through Luhrmann’s films. Costume designer, Catherine Martin, goes the extra mile and gets hundreds of costumes to dress up Elvis and the rest of the cast and I’m positive we’ll also see her at the Oscars. Last but not least, extra credits go to EVERYONE else in front and behind the camera who worked on the film.

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Solidarity for Ukraine πŸ‡ΊπŸ‡¦ πŸ™

Stay safe!

P.S. To corroborate my point, if you want to get an idea of Luhrmann’s sense of editing, watch Moulin Rouge! (2001), and more specifically, the “El Tango de Roxanne” sequence (01:18:08 – 01:25:31). It lasts 443” and contains 419 cuts – approximately, one cut per second (I had to watch it at half the speed to count all of them)! In editing’s (unofficial) terms… a proper “frame-fucking”!

Better Watch Out (2017): Comedy/Horror/Thriller

When the parents decide to have a Christmas night out, they hire a babysitter for their teenage boy, but what seems to be a home invasion will make their night a living hell.

The Christmas horror for the whole (15 and over) family. Expect something like Home Alone (1990) meets The Babysitter (2017). The premise, at first, is simple. The parents want to have a Christmas night out, they hire the neighbourhood’s beautiful girl to babysit their teenage boy, they leave, and not long after, a home invasion shakes them to their core. From what I see, IMDb doesn’t disclose much, if anything, so, I’ll make it deliberately generic, and keep it as well spoilers-free.

Very well structured both in terms of script and execution. In less than ten minutes, every character has been introduced as well as the house with all its rooms. The inciting incident is very well disguised and when it reveals itself, it shocks! From then on, there is a roller coaster of incidents that take place one after the other in a synchronised manner, not very well timed to keep it real, not too messy to confuse. Overall, in less than an hour and a half, Better Watch Out brutally entertains, horrifies, and leaves you in the end with wanting some more. Olivia DeJonge, Levi Miller, and Ed Oxenbould have an amazing chemistry between them and shine in front of the camera. I wish I could say more, but I will stop here.

Behind the camera, writer Zach Kahn and writer/director Chris Peckover create the kind of mixed genre that I particularly like. Comedy/horror is not easy to make. To be able to scare someone but also make them laugh takes a lot of consideration and preparation as these are polar opposite feelings. And to blend them into a film, especially involving kids, imposes a risk to the filmmakers when pitching such a project to the producers and distributors. Why? The target audience is not clear to them which means that it will potentially be unclear to the audience too. And from what I read, it didn’t do particularly well. But don’t be alarmed by that. As I’ve said before a few times, especially this time of the year, this is the kind of fictional excitement we need from the comfort of our couch. The one outdoors is definitely the one that we neither want nor need.

I very much hope you enjoy it, as well as this festive period.

Stay safe!

P.S. Olivia DeJonge and Ed Oxenbould play brother and sister in M. Night Shyamalan’s The Visit (2015).