SYNOPSIS: In "Chip ‘n Dale: Rescue Rangers," Chip and Dale are living amongst cartoons and humans in modern-day Los Angeles, but their lives are quite different now. It has been decades since their successful television series was canceled, and Chip (voice of Mulaney) has succumbed to a life of suburban domesticity as an insurance salesman. Dale (voice of Sandberg), meanwhile, has had CGI surgery and works the nostalgia convention circuit, desperate to relive his glory days. When a former castmate mysteriously disappears, Chip and Dale must repair their broken friendship and take on their Rescue Rangers detective personas once again to save their friend’s life.
MOVIE REVIEW:
As the tagline tells you, it’s not a reboot, it’s a comeback. Finally, for the first time, there’s some truth in Hollywood marketing. Everyone’s favourite impish chipmunks, Chip and Dale (some may argue they rank after the other famous trio, Alvin and the chipmunks) returns to the small screen after their Rescue Rangers animated series ended almost three decades ago.
Although the concept of mixing live action and animation have been done to death with the likes of Roger Rabbit to the recent Space Jam 2 and Sonic 2, Chip and Dale: Rescue Rangers stood out mainly for its inventive comedy adventure and hearty laughs. In a way, it all boils down to story. There’s no point bringing back good old Disney characters just for the sake of it. Fortunately, director Akiva Schaffer and his writers know how to pay tribute to Disney legacy yet breathing new life to them.
Chip and Dale has been best friends since elementary school which leads them to star in a successful TV series later on. But Dale who is sick of playing second banana decides to branch out to star in his own show, Double-O-Dale. Because of it, the two friends had a fallout subsequently with Chip (John Mulaney) ended up as an insurance salesman and Dale (Andy Samberg) as a washed-up TV star 30 years later.
But when their old co-star, Monterey Jack (Eric Bana) gets kidnapped by a trafficking ring which specializes in bootleg productions, Chip and Dale has to put aside their differences and work with a local detective Ellie Steckler (Kiki Layne) to rescue Jack before he is digitally altered by the evil gang leader aka middle age and overweight Peter Pan, Sweet Pete (Will Arnett).
If you love the classic, harmless Rescue Rangers animated series, the movie continues its tradition of having Chip being the fearless, smart leader and Dale being the usual goofy sidekick with a big heart. The duo continues to be competent detectives as they search for clues and brainstorm for ideas although it can be a bit jarring at first watching a CGI Dale opposite Chip who remains in his classic animated form. Their arch-enemy Fat Cat is missing this time round but no worries, Sweet Pete, Bob, a motion-captured dwarf (played hilariously by Seth Rogen) and Jimmy, a Coca-Cola look-alike polar bear is enough to make viewers giddy with delight at their crazy antics.
Disney sure knows how to incorporate the idea of multiverse into every production they can lay their hands on. Well, Chip and Dale: Rescue Rangers is set in a toon world where every recognizable IP is spotted looming either in the background or forefront. And it’s not just Disney characters but those from rival toy companies, Mattel, Lego and Hasbro. Even the original rejected Sonic design pops up as Ugly Sonic and he has a decent role in the movie as well.
Chip and Dale might be a tad unfamiliar to kids but the flick delivers enough fun, thrill and messages about friendship to keep the younger ones engaged. For those who grew up watching Disney cartoons, this served up a huge teaspoon of nostalgia and undeniable level of infectious energy and laughs. It’s definitely one of the best if not an impressive original Disney+ movie for a while.
MOVIE RATING:
Review by Linus Tee
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OBI-WAN KENOBI DRIVES VOLKSWAGENPosted on 22 May 2022 |
Genre: Horror
Director: Ekapon Sethasuk, Jatupong Rungruengdechapat, Pataraporn Weerasakwong
Cast: Praewa Suthumpong (BNK48’s Music), Panisara Rikulsurakan, Teeradon Supapunpinyo, Sawanya Paisarnpayak, Khemisara Pholdej, Krit Jeerapattananuwong
Runtime: 2 hr 10 mins
Rating: NC16 (Horror & Some Violence)
Released By: Shaw
Official Website:
Opening Day: 12 May 2022
Synopsis: Every campus has its own horror tales passed down from seniors. The Haunted Universities tells three of the scariest tales: Last Cheer, The C and The Abandoned.
Movie Review:
Everyone loves a good horror movie, even if you are a scaredy cat who cowers in fear at when the unknowing protagonist tiptoes through an eerie corridor, or covers your eyes when the helpless damsel in distress comes face to face with an unnatural being. And that is why there is always a market for this genre. As viewers in this part of the world, Asian horror flicks have a special place in our hearts. If you have seen enough scary flicks from Thailand, you’d know they are often unnervingly effective in sending chills down your spines.
So it doesn’t really matter when Thai horror movies feel somewhat similar after a while, because the very thought of the story being a probability in this part of the world is enough to make you want to watch and find out whether there is a lingering curse out there in your vicinity.
Audiences may not be patient enough to sit through a two hour movie these days, especially if the screenplay is predictable and bland, and worse – if you are not a fan of the cast. So this movie smartly incorporates three tales in its 130 minute runtime, and thematically has the stories take place in school campuses.
Ekapon Sethasuk directs the first segment “Last Cheer”, where we see a group of freshmen gathering in a “cheer room” for what seems like an orientation camp. They are asked to sing the school anthem (which sounds really creepy, if you ask us), and things go awry during the customary ritual when one of the girls begin acting strangely.
This is a slow burning drama about a friendship between two girls who can see ghosts. The occasional jump scares are not exactly startling, but they are atmospherically visualised on screen (watch out for a sequence where a group of ghostly beings appears as a mirror image on the ceiling as they broodingly sing the school anthem). Praewa Suthumpong and Panisara Rikulsurakan headline “Last Cheer”, and the segment ends on a bittersweet note, which is a promising sign for the next two stories.
The protagonist of ”The C” directed by Jatupong Rungruengdechapat is a hardworking medical student who has the bad luck of staying in a dormitory previously occupied by another star student who died in an accident on the school’s anniversary. The ghost of the dead student returns to visit and things do not look good for the earnest dude who made the mistake to stay overnight.
Teeradon Supapunpinyo plays the lead character in this segment and he has quite a bit of work to do, considering that he is alone in most of his scenes. The story also takes its time to develop (Sawanya Paisarnpayak has a bit of screen time as the girlfriend who tried to warn him of the impending misadventure), and while the build up was intriguing, things do feel a bit overdone when the dead student shows up (like a zombie, of course) and regrettably, very little is left to imagination.
As we venture into the third segment “The Abandoned” helmed by Pataraporn Weerasakwong, we wondered whether it’ll also be slow moving like the first two tales. The premise is simple: a student asks her brother to return her laptop in the middle of the night (we are okay to oversee logic here), and he takes a wrong turn towards the old building where it is, well, obviously haunted.
This is our favourite segment because of the offbeat approach to tell the horror story. There is great use of comic timing and creative editing that makes you feel like you’re watching a variety show. Krit Jeerapattananuwong is a natural in his role as the brother who is supposedly a failure in life (he is also trying very hard to win back his girlfriend while being chased by ghosts), and his screen presence is complemented by Khemisara Pholdej who plays his all knowing sister. There is even a heartwarming moment at the end of this segment which closes the chapter on a pleasant note.
Movie Rating:
(Another effective horror movie from Thailand that delivers scares, laughs and creativity)
Review by John Li
SYNOPSIS: A one-time rodeo star and washed-up horse breeder takes a job from an ex-boss to bring the man's young son home from Mexico. Forced to take the backroads on their way to Texas, the unlikely pair faces an unexpectedly challenging journey, during which the world-weary horseman finds unexpected connections and his own sense of redemption.
MOVIE REVIEW:
When the legendary Clint Eastwood wants to make a slow, thoughtful drama about a washed-up rodeo star acting as a surrogate guardian to a teenager, you let the man do it. And that’s what Warner Bros did much to the dismay of Warner’s new CEO when Cry Macho underperformed at the box office with only a worldwide gross of just $15 million.
Number is a huge factor for a movie liked Cry Macho. The material is based on a more than four decades old novel by the late N. Richard Nash. At the age of 91, Eastwood directs and stars in the flick which is set in 1979. Given the “vintage” feel of it, it’s no surprise most contemporary movie-goers shunned away from it yet there’s an underlying casual, chill cowboy charm and cinematographer Ben Davis’ beautiful lensing certainly adds to it.
Ex-Texan rodeo star and now retired horse breeder Mike Milo (Eastwood) is tasked by his boss to go to Mexico to bring back his teenage son, Rafo (Eduardo Minett) from his estranged wife. With a father that is absence and a partying mother, Rafo turned to a life of crime and cockfights. It’s not long before Mike finally locate Rafo and the duo embarks on an adventurous road trip back to Texas together with Rafo’s rooster, Macho.
In many ways, Cry Macho is pretty similar to The Marksman which coincidentally was released in the same year. Both movies have an aging macho protagonist taking a young teenager under their wings although you can’t tell much of a difference if you simply swop out Liam Neeson for Eastwood or vice versa. Both showcases a sentimental story theme with some forgettable threats stuffed inbetween. And to top it all, the helmer of The Marksman was worked as an assistant director and producer for Eastwood.
Similarities aside, Cry Macho is a low-key class act for Eastwood anyway. Milo is a quiet man with few words but he sure knows how to tame a wild horse and convinced a fiery-tempered teenager with his cowboy style nuggets of wisdom. Along the way, there’s the henchman hired by Rafo’s mother to handle yet Milo still has the time to romance a widow. Simply put, this is not a movie about menacing cartel, corrupt cops or violent standoff. The works of Eastwood has certainly grown nuanced over the years but while not as compelling as The Mule and Gran Torino, it’s still a worthy watch if you have less than two hours to spare.
MOVIE RATING:
Review by Linus Tee
Genre: Action/Thriller
Director: Christopher McQuarrie
Cast: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson, Vanessa Kirby, Esai Morales, Pom Klementieff, Mariela Garriga, Henry Czerny, Shea Whigham, Greg Tarzan Davis, Charles Parnell, Frederick Schmidt,Cary Elwes, Mark Gatiss, Indira Varma, Rob Delaney
Runtime: 2 hrs 43 mins
Rating: PG13 (Some Violence)
Released By: UIP
Official Website:
Opening Day: 13 July 2023
Synopsis: In Mission: Impossible – Dead Reckoning Part One, Ethan Hunt (Tom Cruise) and his IMF team embark on their most dangerous mission yet: To track down a terrifying new weapon that threatens all of humanity before it falls into the wrong hands. With control of the future and the fate of the world at stake, and dark forces from Ethan's past closing in, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than his mission – not even the lives of those he cares about most
Movie Review:
Before last year’s ‘Top Gun: Maverick’, ‘Mission Impossible’ would certainly be the defining franchise of Tom Cruise’s illustrious movie-making career; and perhaps it still is, seeing as how it is the one role, as Impossible Mission Force (IMF) agent Ethan Hunt, that Cruise has played six times before and is now reprising for another two more.
Whereas ‘Fallout’ followed from the events of ‘Rogue Nation’, ‘Dead Reckoning, Part One’ kickstarts an entirely new storyline, albeit with some familiar faces from the past. Instead of the usual nihilistic terrorists or vaporous international espionage networks, the enemy here is an all-powerful artificial intelligence known as ‘the Entity’ capable of turning ‘allies into enemies and enemies into aggressors’; and whether due to sheer luck or prescience, the timeliness just as the world frets over AI is uncanny.
Said Entity is seen in the opening scene deceiving a Russian submarine Sevastopol into launching counter-measures against an enemy attack, only to have its own torpedoes change course and blow it up instead. Following that devastating act of sabotage, Ethan receives his next mission to hunt down former ally and ex-MI6 agent Ilsa Faust (Rebecca Ferguson), who has a US$50 million bounty on her head after gaining possession of one half of a key believed to be quintessential to gain control of the Entity.
That hunt brings Ethan to the Arabian desert, where, as you can imagine, Ethan learns of the power of the Entity and why it should never be allowed to fall into any government’s hands, including that of his own. So begins a globe-trotting adventure that sees Ethan journey from Abu Dhabi’s new Midfield Terminal, to the cobbled streets of Rome and its Spanish Steps, to the Doge’s Palace of Venice and Ponte Minich, and lastly to the Austrian Alps comprising the spectacular Helsetkopen Mountain and Kylling Bridge. Each is the scene of a meticulously executed set-piece, and we dare say a beautiful testament to Cruise’s commitment to old-school action filmmaking.
Indeed, we cannot overstate just how exhilarating the set-pieces are. The cat-and-mouse chase around Abu Dhabi’s airport is loaded with exciting close-calls, tongue-in-cheek moments, and bits of sheer ingenuity. The subsequent ride through the streets of Rome in a tiny yellow Fiat is both harrowing and hilarious, not least with Hunt handcuffed to his female foil. A typical two-on-one fight gets a thrilling makeover within one of Venice’s tight alleys, alongside a knife fight on its dimly lit canal. Last but not least, the climax on board a runaway train pays homage to the first movie’s big-bang ending, laying the premise for a number of jaw-dropping stunts, including Cruise’s much-touted motorbike ride and base jump off a cliff, a mano-a-mano fight on board the Orient Express, and a fight against gravity one plummeting train car at a time.
At the very centre of the action is Cruise, whose singular focus and all-in commitment to big-screen action is humbling. In each and every frame, there is no doubt it is Cruise himself driving, riding, kicking, punching, running and running and running some more. Lest we forget, Cruise turns 61 this year, and while the movie was filmed over the past three years through the ravages of the COVID-19 pandemic, it is no less impressive how Cruise insists on performing his own gravity-defying stunts with as little computerised gimmickry as possible.
While there had been some truth that the earlier movies were his vanity projects, Cruise’s decision to bring on board his trusted filmmaker Christopher McQuarrie (their partnership goes way back to ‘Valkyrie’ in 2008) has in turn enabled its evolution into a team effort. Besides field agents Luther Stickell (Ving Rhames) and Benji Dunn (Simon Pegg), as well as Faust, Hunt also forms a new alliance with wily thief Grace (Hayley Atwell), who has to choose whether to trust Hunt and his team or put her own interests first. Cruise and Atwell have excellent chemistry, and we dare say their jokey interplay is the reason why the film remains bright and likeable throughout.
Though plot and character have always been secondary, it is to McQuarrie’s credit that both ‘Rogue Nation’ and ‘Fallout’ were compelling not only for Cruise’s daredevilry. Compared to ‘Fallout’ though, ‘Dead Reckoning Part I’ may not be as finessed, but McQuarrie (who shares writing duties with ‘Band of Brother’ lead writer Erik Jendresen) is a consummate professional at keeping the narrative tight, sharp and focused. He does however rely a little too much on the film’s McGuffin, i.e. the aforementioned metal key of two halves that slot together, and leaves it a little too late before establishing just what the key does in relation to the Entity.
Even if it falls just short of being the best in the series, it is in our opinion that the best action movie of this summer. Not only does it present probably the most intriguing antagonist, it also offers the most complete set of blockbuster thrills, whether in terms of chases, fights, mayhem, sleight of hands, or even riddles and puzzles. And of course, it reminds us yet again why Cruise is indeed Hollywood’s last action hero, as well as why Spielberg had praised him for “saving Hollywood’s ass”. ‘Dead Reckoning Part I’ is pure visceral thrill, with just the right dose of narrative and self-winking humour thrown in for good measure – and as impossible as it may seem, we hope that Cruise, who started playing Hunt 27 years ago, will do it for as long as he can keep running.
Movie Rating:
(Just short of 'Fallout', 'Dead Reckoning Part I' is nevertheless a breathless, pulse-pounding and edge-of-your-seat entertaining blockbuster that only Tom Cruise can deliver)
Review by Gabriel Chong
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WOLFGANG PETERSEN (1941 - 2022)Posted on 17 Aug 2022 |
Genre: Comedy/Drama
Director: Satoshi Miki
Cast: Ryosuke Yamada, Tao Tsuchiya, Gaku Hamada, Joe Odagiri, Toshiyuki Nishida, Hidekazu Mashima
Runtime: 1 hr 55 mins
Rating: PG (Some Disturbing Scenes)
Released By: Golden Village Pictures
Official Website:
Opening Day: 23 June 2022
Synopsis: A KAIJU (Monster), which terrorized humans to unprecedented levels, suddenly died one day. While the people rejoice and bask in relief, the giant corpse left behind begins to slowly rot and bloat. If it explodes, the nation will be destroyed... The countdown to the end has begun. In a desperate race against time, the man assigned to handle the corpse with the fate of the nation at stake is neither a police officer nor a soldier, but a man with a past who disappeared 3 years ago... What is the mission entrusted to him? Will he be able to stop the explosion...?! A fantastical special effects entertainment about a man's "top secret mission" in the face of an unprecedented emergency begins to unfold.
Movie Review:
What to Do with the Dead Kaiju? is a comedy/tokusatsu (special effects) movie written and directed by Miki Satoshi. Unlike most Kaiju (monster) movies which deal with heavy action and special effects in defeating the threat, the premise of this movie explores the situation of dealing with the carcass of the Kaiju, after it has been defeated.
Given a promising trailer and a star studded lineup for the movie’s cast, never would one imagine how badly it could flop. The movie attempts to poke fun at the state of politics in Japan, having several key ministers gathered in a room for an “intense discussion” on clearing the trash (read: Kaiju), only to have them skirt responsibilities like being assigned extra tasks by the teacher at class. Later on, when a bigger threat was uncovered, they held a similar cabinet meeting, repeating the same sort of dark humour and satire, which didn’t exactly take flight.
Yamada Ryosuke played the role of Obinata Arata in the Special Force, who was assigned to head the mission to clear “HOPE” – the name assigned to the now lifeless Kaiju. His mysterious, unexplained and almost paranormal disappearance 3 years ago seems to be linked to deeper secrets, and perhaps he holds the key to resolving the crisis. His once romantic relationship with the Environment Minister’s secretary, played by Tsuchiya Tao, forcibly added a bit of romance (or you could say fan service) to the story.
However as the story develops, it kept on trying to build a sense of mystery and introduced many more small side characters, who all seem to contribute to the story, yet insignificant. Some of these roles were played by award winning actors/actresses like Nikaido Fumi, Kikuchi Rinko and Sometani Shota; almost signalling a waste of talent. At the film’s climax, where we ought to see the SFX in full glory, the sense of satisfaction didn’t exactly match up. While the pacing of the movie was okay, the jokes and gags were more of a distraction than a complement, and the fixation of “kamikaze” wasn’t easily understood and appreciated too.
If it hasn’t been obvious enough, the film’s attempt at pulling off a satire piece and dabbling into the tokusatsu domain didn’t come across strongly and landed on nothing. If you’re a tokusatsu fan, sorry but this is going to be disappointing. Miki Satoshi is known for this type of ‘nonsense gag’, particularly with the stage plays he writes. Even if the loose references to the real-world events in the movie had made sense, the choice of medium and format was probably a misfit. The parallels drawn between the announcement of “HOPE” with the announcement of the new era’s name in Japan “Reiwa”, the ever-ongoing border tensions between Japan and Korea etc. While seemingly relevant, the quality of joke and humour simply didn’t achieve the intended reactions.
Overall, there were wasted opportunities with the cast and potential development of the narrative. With a runtime of 155 minutes, this nonsensical and inconsequential story that’s so out-of-the-world (in a bad way) makes you question what you just watched, and wonder how you could have made better use of your time.
P.S.: There is a short footage post credit roll. But trust me, it’s not worth staying for.
Movie Rating:
(This is a passable movie only if you walk into the cinema with no or negative expectations)
Review by Tho Shu Ling
Genre: Drama
Director: Philip Barantini
Cast: Stephen Graham, Jason Flemyng, Ray Panthaki, Hanna Walters, Malachi Kirby, Vinette Robinson, Alice Feetham, Taz Skylar, Izuka Hoyle, Lourdes Faberes
Runtime: 1 hr 32 mins
Rating: M18 (Coarse Language And Some Drug Use)
Released By: Shaw Organisation
Official Website:
Opening Day: 19 May 2022
Synopsis: Certified 99% Fresh on Rotten Tomatoes — Enter the relentless pressure of a restaurant kitchen as a head chef (Stephen Graham) wrangles his team on the busiest day of the year.
Movie Review:
The next time you are served food at a fancy eatery, take a moment to think about the possible hellish events that are taking place behind the scenes. This gripping movie doesn’t offer the most captivating storyline (what’s so interesting about the drama and arguments between restaurant staff?), but you have to watch the story unfold on screen to experience the power of this superbly made film.
Set in a London restaurant, we follow head chef Andy Jones (English actor Stephen Graham delivering one of the most committed performances we’ve seen in a while) as he goes through a very, very bad day at work. We first see him on the phone apologising profusely for neglecting his son, before coming face to face with a health inspector who had just downgraded his eatery because the paperwork hasn’t been done properly.
That’s just the beginning of a nightmarish series of events. It’s going to be a busy night at the restaurant - while it’s good business, it also means people are going to be overworked. Amongst the guests are a celebrity chef that Andy used to work for, a food critic he has brought along, a dude who is planning to propose to his girlfriend who is allergic to nuts (you know something bad is going to happen), a group of influencers who want steak instead of the items of the curated menu, a racist diner who turns ugly when his family is served by a black waiter. Phew, that already sounds like a lot to handle.
Then we have the kitchen staff and the service crew who are like your co workers from work. There is the restaurant manager that nobody likes, the capable second in charge chef who always clears the sh** caused by others, the skiving dishwasher who doesn’t feel bad about making his pregnant colleague work more, and the many waiters who are trying very hard everyday to tell themselves that they love the job.
So you can imagine the immense pressure that Andy is under. Filmed entirely in one take, director Philip Barantini has made a 92 minute movie that is more intense than many other thrillers we’ve seen. This means that whatever you’re watching is unfolding in real time. There is no music score, and the soundtrack is made up of the diners’ chatters and the restaurant staff’s dialogues.
And thanks to the ensemble cast members’ perfect portrayals of their characters, you remember and feel for everyone, regardless of whether of the screen time they have. You’ll want to get to know the characters: there is a young chef who has reservations of rolling up his sleeves (the scene where the reason is revealed is truly moving), a new chef from France who is trying to make sense of the system, a blonde waitress who shows up late at work and shares enthusiastically how she hopes to be selected after going for an audition, and a gay waiter who works in another bar as a deejay.
There is always something to learn about the characters, and as the evening progresses, you have a (bad) feeling something unfortunate is going to happen in the claustrophobic space. And when the finale hits, you’ll be wondering how bad your day at work really was.
Movie Rating:
(Emotionally resonant and superbly-acted, this is a gripping human drama told in one take)
Review by John Li
Genre: Biography
Director: Baz Luhrmann
Cast: Austin Butler, Tom Hanks, Helen Thomson, Richard Roxburgh, Olivia DeJonge, Luke Bracey, Natasha Bassett, David Wenham, Kelvin Harrison Jr., Xavier Samuel, Kodi Smit-McPhee, Dacre Montgomery, Leon Ford, Kate Mulvany, Gareth Davies, Charles Grounds, Josh McConville, Adam Dunn
Runtime: 2 hrs 39 mins
Rating: PG13 (Some Drug and Sexual References)
Released By: Waner Bros
Official Website:
Opening Day: 23 June 2022
Synopsis: ELVIS is an epic, big-screen spectacle from Warner Bros. Pictures and visionary, Oscar-nominated filmmaker Baz Luhrmann that explores the life and music of Elvis Presley, starring Austin Butler and Oscar winner Tom Hanks. A thoroughly cinematic drama, Elvis’s (Butler) story is seen through the prism of his complicated relationship with his enigmatic manager, Colonel Tom Parker (Hanks). As told by Parker, the film delves into the complex dynamic between the two spanning over 20 years, from Presley’s rise to fame to his unprecedented stardom, against the backdrop of the evolving cultural landscape and loss of innocence in America. Central to that journey is one of the significant and influential people in Elvis’s life, Priscilla Presley (Olivia DeJonge).
Movie Review:
When it comes to biopics, authenticity appears to be the yardstick most would measure it by. For flamboyant filmmaker Baz Luhrmann, that would be both stifling and obvious.
It’s been almost a decade since his last feature (The Great Gatsby, 2013) and two for Moulin Rouge! (2001), but the Australian director commits to his inimitable visual theatrics with his latest feature, Elvis. Is this a rich documentary with nuance? Not exactly. Instead, Luhrmann shakes down the short two decades of the singer’s fiery stardom into a creature that he’s more familiar with - a feverish story revving with soulful tracks to pay tribute to Elvis’s influences, and then his rediscovery in his later years - all dripping with signature baroque and burlesque from Luhrmann and his crew.
So yes, this may not be everyone’s cup of tea. From swooping cinematography and jangling tracks piling over each other, to graphic novel panels and frenzied edits, Elvis is an emotional dervish - a project that needs the audience to release their reins and expectations of the traditional narrative. Elvis, in short, needs to be felt.
This unorthodox treatment shows up wonderfully in some areas: Luhrmann’s lush cinematography comes through with the help of Mandy Walker, who also worked with him in another feature, Australia. From sweaty foreheads displaying grit and passion in the early blues and gospel singers, to the psychedelic dream of a fairground representing Colonel Tom Parker (Tom Hanks) eternal spiel, the visuals here are decadent and uninhibited - visceral in every hue and texture. And in between, all manners of creative edits to put the director forth as a master of transitions.
This is joined by an intense soundtrack, unrelenting in its lure. Much like how Moulin Rouge! found footing in its mix of modern and classic tunes, Luhrmann shows off his finesse once again with Elvis - smuggling in contemporaries like Eminem, Ceelo Green, Denzel Curry and even Doja Cat to deliver portions of Presley’s classics. But it is the heavy tribute to his early musical influences - such as Arthur Crudup’s “That’s All Right” (performed by Gary Clark Jr.) - so full of raw power and expression depicting the era’s struggle for coloured people, that really places the movie’s score as a stellar (if trippy) blend.
For much of Presley’s renditions, Austin Butler, who plays the title character, is near flawless in his numbers. Taking on the daunting task of playing a legend is always risky, as one submits to the scrutiny of fans and purists. But the actor has captured isms effectively, and transformed them enough to his own to make them feel natural and not mere affectations.
But the film does have its letdowns. Elvis and his relationship with his family (especially that of his two important figures - his mother and wife) is rather diluted, thus taking away the poignancy of certain milestone events. The other - and I’m sad to say - is Hank’s portrayal of the manager and mentor of Presley. Wrapped up in stiff prosthetics, the Colonel’s greasy impresario has little charm like that of Jim Broadbent’s Harold Zidler in Rouge. And because the entire film’s angle is meant to serve empathy to Parker’s broad reputation as a swindler, the complete narrative ends up as one that is a little confusing, and mostly unsatisfying.
That said, Luhrmann’s untouchable when it comes to delivering entertainment, of which Elvis remains a healthy piece. The pageantry of its production aligns with Elvis’s whirlwind rise and iconic status, and the soundtrack resonates deeply with tribute. Very much something that taps into movie magic.
Movie Rating:
(So much splendour and filmic finesse, so much so that weaker portions are washed over for the entire’s entertainment value)
Review by Morgan Awyong
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ZENDAYA & ANNE HATHAWAY IMMERSES THEMSELVES IN BULGARIPosted on 31 May 2022 |
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