|
Post by hi224 on Jul 9, 2022 0:22:48 GMT
Really hope Butler gets a well deserved nomination.
|
|
|
Post by politicidal on Jul 9, 2022 0:32:33 GMT
It'll probably happen. How was Tom Hanks as Foghorn Leghorn as Colonel Sand-eh I mean, Tom Parker?
|
|
|
Post by hi224 on Jul 9, 2022 1:51:41 GMT
It'll probably happen. How was Tom Hanks as Foghorn Leghorn as Colonel Sand-eh I mean, Tom Parker? not as tepid as its said basically but not very good at all.
|
|
|
Post by hi224 on Jul 9, 2022 1:55:17 GMT
It'll probably happen. How was Tom Hanks as Foghorn Leghorn as Colonel Sand-eh I mean, Tom Parker? Butler however completely channels an Elvis whom while a doe eyed hopeful, also clearly has a sad center illustrated with a lack of discernible direction, deludedness, regret and utter resignation.
|
|
|
Post by joekiddlouischama on Sept 7, 2022 5:00:34 GMT
Butler is effective (in a role that only gives him fleeting opportunities to "act" as opposed to perform), but if there is an Oscar nomination here, it will probably be for Hanks as Best Supporting Actor. He manages to be both slimy and slightly sympathetic, creepy and charming (not easy combinations to achieve), and until the film's climactic chapter, I was not entirely sure of the character's true nature, meaning that Hanks renders the figure quite ambiguous.
|
|
|
Post by Vits on Sept 25, 2022 15:21:25 GMT
ELVIS has effective dramatic moments, but overall, it's an over-long by-the-numbers biopic. You can't even call it unique, since there have already been other dramatizations about the life of the King of Rock & Roll, including the 2005 mini-series of the same name. While we're on that subject, I'm going to write a sentence I never thought I would write: Fucking Randy Quaid did a better job than Tom Hanks! What world are we living in?! But yeah, his performance is bafflingly bad, while Austin Butler's is very good. You'd think that a director known for his colorful and energetic style would be the perfect choice to make a movie about a man who was showmanship personified. Unfortunately, Baz Luhrmann's aesthetic decisions feel limited. The sets, props and costumes aren't hyper-stylized, because they're meant to be historically accurate. His distinct vision is still present when it comes to Mandy Walker's cinematography and Jonathan Redmond and Matt Villa's editing, except that those elements aren't in sync with the beat of the song playing in each scene. Most of the cuts, angles and camera movements seem to happen at random.
5/10
|
|