In terms of audio quality, this Dolby Atmos mix almost feels like you’re getting to be at an Elvis concert during the latter half of the film comprised of the 1970s Las Vegas performances. This has some excellent use of the height channels that really help drive the music all throughout this very unconventional music biopic. Some use of modern music might catch some’s attention and feel a bit off but I personally found it to work. It’s a sound mix that’s as much larger than life as Elvis was, in my own personal opinion.

immersion. Surrounds carry next to no content; it's difficult to point to even a subtle surround engagement moment and impossible to identify a As mentioned, Baz Luhrmann co-wrote the story itself here (with Jeremy Doner) and then collaborated with a few other writers on the screenplay. Doner is known for working as a writer on some episodes of TV shows such as “The Killing” (2001) and “Damages” (2007). Both of the other co-writers on the screenplay [Sam Bromell and Craig Pearce] have worked with Baz on past projects. Namely, Craig Pearce also co-wrote the screenplays for “Strictly Ballroom”, “Romeo + Juliet”, “Moulin Rouge!”, and “The Great Gatsby”. And Sam Bromwell had co-written numerous short films that Baz Luhrmann directed over the years. Luhrmann’s merry-go-round reaches its dizzying apex just when Presley is on his way down; the singer’s fall and inevitable resurgence provide the most exhilarating moments in the film. Luhrmann creates a veritable sizzle reel for The Sixties, embracing the candified Technicolor and pop-art glitz of films that wore their shallowness like a badge of honor; overproduced and underdressed sex farces like What a Way to Go and A Guide for the Married Man. The archetypal Elvis movie was just as colorful and even more inconsequential than those films, but assembly line products like Girls! Girls! Girls and Blue Hawaii were slogs—even with nifty musical interludes like Return to Sender and Can’t Help Falling in Love. Churning out such tripe for producer Hal Wallis would take its toll on the singer’s reputation (he cranked out 31 films in 12 years) but Luhrmann makes Presley’s Hollywood tenure look as vibrant and kinetic as Godard’s A Woman is A Woman. Elvis” [2022] was one very unique biopic that managed to tell the story of Elvis Presley and his crooked manager in a different way than we had ever experienced in the past. Director, producer, and co-writer Baz Luhrmann has truthfully put together a great film here, and star Austin Butler surely “gave it his all” playing Elvis as did even Tom Hanks, playing his less than likable manager [ “Colonel Tom Parker”] in the film. And yet Luhrmann and his cadre of screenwriters decide to cut through it all with some stark and brave narrative choices……frame the entire film as a medicated fever dream of Elvis’s long-term manager/nemesis Colonel Tom Parker (Tom Hanks), which not only turns the entire thing into less of a straight-forward biopic and more a battle for the soul of Elvis, but also justifies the assault on the senses that Luhrmann delivers in his typical OTT brand of cinematic excess.Elvis is certainly far from the best actor there ever was -- but rather a finely honed screen presence. The film tasks him with very few emotive From its opening logos, you’re under no illusion that this is pure Luhrmann – he might have been away from our screens since 2013’s ‘ The Great Gatsby’, but he’s lost nothing of his visual sensibilities: the entire film is a whirligig of kaleidoscopic images, split-screen montages stitched together with machine gun editing and a kinetic sense of motion that never lets up across its 159-minute run-time. It's breathless, especially in its opening act, where time periods slip and slide across each other as Parker’s narration gets the audience up to speed with Presley, and it could so easily disorientate… but it somehow seems a perfect match for the sequin-festooned, gaudily glamorous excess of Elvis’s life that, together with its established structure of taking part in Parker’s drug-induced mind, presents Presley in almost the only way that it could. tampering. The result is a handsomely crisp and faithful image that captures the true, organic filmic elements with striking ease and command. The Musical Moments (19 clips, 46:19 total) - Think of these as song chapter selections; all of the performed songs and Let’s face it, this film offers up one absolutely captivating visual presentation many thanks to the cinematography by the DP (director of photography) Mandy Walker. It also is one downright gorgeous film thanks to the costume and production design done by Catherine Martin, who happens to be the wife of the film’s director. “Elvis” [2022] is just as much fun to watch as it is to hear, and it looks incredible here in 4K physically on the 4K UHD Blu-ray format, enough to earn it a downright awesome 4.75 rating for video quality. The fact this comes from that higher 4.5K and 6.5K digital source material makes for one very nice 4K master and here on disc for one overall excellent 4K video presentation.

beyond the admittedly beautiful facade. Elvis does his best to carry it, playing a hopelessly two-dimensional character and offering little more than, counterpart, Warner Bros.' 1080p transfer still offers a very crisp and faithful representation of Elvis' specific appearance. The first movie that he remembers being a passionate fan of was the first Toy Story movie. This led to a love of animated movies and television series. In addition to classic Disney animation and the Looney Tunes shorts, Adam is also a big fan of animation from the 1990s. This includes TV shows like Tiny Toon Adventures, Animaniacs, Pinky and the Brain, and Goof Troop. He is also a big fan of shows like The Simpsons and Futurama. tell-all by Presley's manager "Colonel" Tom Parker (Tom Hanks), a man accused of mismanaging the star's funds and estate for decades by

Viva Australia: Recreating Iconic Locations for ELVIS“ (7 minutes, 26 seconds – HD) Catherine Martin (costume designer, production designer, producer), Baz Luhrman (director, producer, writer), Austin Butler (Elvis), Bev Dunn (set decorator), Mandy Walker (director of photography), and Olivia DeJonge (Priscilla). moments without necessarily feeling overcooked, and regularly reaches into the rear and Atmos-exclusive height channels at opportune moments. My Added my VPX7 LUT changer to darken the table (hold down LEFT CTRL while change with RIGHT CTRL). Including GI brightness adjustment. Use the LUT changer together with the day/night slider to give the table the level of darkness you prefer.