--- title: "Elvis" year: 2022 kind: "film" canonical: "https://film.one/film/elvis" fi1m_score: 66 critics_score: 69 critics_reviews: 23 published: "2026-09-20T08:36:56.739586+00:00" updated: "2026-09-20T08:37:10.440643+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Elvis (2022) Directed by Baz Luhrmann · 2h 39m · MPA PG-13 · Music, History, Drama **Fi1m score: 66** · Critics 69 from 23 reviews *In a sentence:* Every concert is thrilling and every time one ends Tom Hanks turns up in a fat suit to explain it > Baz Luhrmann’s Elvis film is at its best when Austin Butler is on a stage, which is not often enough in 159 minutes. The concerts are electric; the rest is Tom Hanks’s Colonel Parker narrating, and the narration keeps Presley at arm’s length. ## Synopsis Las Vegas. Colonel Tom Parker (Tom Hanks), Elvis Presley’s manager, lies in a hospital bed and begins to tell the story of the boy he made famous, insisting he was not the villain of it. His account goes back to Memphis in the mid-1950s, where the young Elvis (Austin Butler) drives a truck, has cut one record, and is booked low on the bill of a country show at the Louisiana Hayride headlined by Hank Snow (David Wenham). Parker is in the crowd. He watches the girls scream at a boy in a pink suit and decides he has found his new attraction. Elvis’s mother Gladys (Helen Thomson) and father Vernon (Richard Roxburgh) wonder what their son is getting into. ## Review Baz Luhrmann’s film about Elvis Presley is narrated by the man who managed him. Colonel Tom Parker (Tom Hanks) tells the story from a Las Vegas hospital bed, insisting all the while that he was not the villain, and the film lets him. It is a strange choice, and it is the choice that decides the film. Whenever Austin Butler is on a stage, *Elvis* is a proper music film, loud and alive. Whenever he steps off it, Hanks steps in to explain what we have just watched, and the life goes out of the picture. At the Louisiana Hayride the young Elvis stands at a microphone in a pink suit, his legs start to shake, and Luhrmann cuts from the hips to the faces of girls in the crowd who do not yet know what is happening to them. Mandy Walker lights the stage hot and white and keeps the camera low, so the boy looks enormous and the hall looks small. Matt Villa and Jonathan Redmond cut the number so that every twitch lands on a beat. Butler does the rest: the lip, the planted feet, the sideways look at the band as if checking they have noticed too. He is remarkable across the whole span, and the later stretch is where he surprised us. There is a sequence built around a television special in 1968, and we found ourselves more moved than we had any right to be by a man in a leather suit singing a ballad. For once the film stops moving. Butler is allowed to stand still and sing to the end of the song, and Elliott Wheeler’s arrangement lets the recording breathe instead of dressing it up. It is the one time the film trusts a song to do the work. The rest of the time we are with Parker, and Parker is a problem. Hanks plays him under a bulb of prosthetic flesh, with an accent from nowhere, rolling his consonants like a Bond villain who has taken up cabaret. It is a performance of great commitment, and we could not tell you one thing Parker wants beyond money. The film picks up his habit of describing feelings rather than having them. He tells us the crowd went wild. We could see that. He tells us Elvis was lonely. We would have liked to be shown. The first twenty minutes are the worst of it. We were irritated, then bored, then cross at being bored by something built with this much care. Carnival rides, split screens, comic-book panels, songs sliced into three-second pieces so that nothing has time to be a song. Luhrmann has always cut like this; the difference is that [*Romeo + Juliet*](https://film.one/film/romeo-juliet) (1996) knew when to stop and sit in a room, and this takes an hour to learn the trick. The supporting cast suffers for the pace. Olivia DeJonge’s Priscilla is given a handful of scenes and a hairstyle. Helen Thomson’s Gladys, Elvis’s mother, is the only person he seems to love in a way we can see, and she leaves the film too soon. Kelvin Harrison Jr. is elegant as B.B. King, but he is there to deliver a point about who made this music and who got paid for it. The point is made cleanly once, in song, by Gary Clark Jr. as Arthur ‘Big Boy’ Crudup, and then again in dialogue in case we missed it. Catherine Martin and Karen Murphy build a Graceland of white carpet and a Las Vegas showroom of gold, and Martin’s costumes track the man from pink lamé to jewelled jumpsuits. Walker shoots the Vegas years in a bronze haze, so the last act looks like a room with the curtains drawn. But the film gets there with fifty minutes still to run, and stages the same argument between star and manager three times. See it in a cinema, where the songs are loud enough to drown the narration and Butler’s hips fill the wall. At home you will hear more of Parker, which is not a recommendation. It carries a 12A and runs 159 minutes, of which perhaps forty are the film Luhrmann wanted to make. *Fi1m score 66, published 20 September 2026.* ## What the critics say Most critics come away entertained, and the praise lands in the same two places. Austin Butler’s performance is admired almost without exception, singled out for its physical energy and for the way it holds across three decades; several reviews call it star-making. The concert sequences are the other point of agreement, with the 1968 comeback special and the Las Vegas years picked out as the stretches where Luhrmann’s maximalism and the material meet. For most, the excess is the point. The reservations cluster around what the film leaves out. A recurring complaint is that it keeps Presley at arm’s length, with little interest in his interior life, and that telling the story through Colonel Tom Parker’s narration pays off only intermittently. Some note historical simplifications. The spread is wide: a handful of raves sit against two firm rejections, with Sight and Sound and The Ringer arguing the style smothers the subject, though both still praise Butler. ### Reviews we read (23) - **Total Film** (90/100, inferred): The critic finds the biopic terrifically enjoyable with swagger and a star-making turn from Austin Butler, praising Luhrmann's exuberant style that strikes the right balance of bombast and character beats. [Read](https://www.gamesradar.com/elvis-review-baz-luhrmann/) - **Los Angeles Times**, Katie Walsh (85/100, inferred): Butler delivers a fully transformed, star-making turn as Elvis in Luhrmann's opulent, maximalist biopic that resurrects the King and makes him relevant again. The manic filmmaking and focus on Elvis's exploitation and revolutionary energy create an intoxicating, dynamic portrait. [Read](https://www.latimes.com/entertainment-arts/movies/story/2022-06-23/elvis-review-baz-luhrmann-austin-butler) - **The Guardian** (85/100, inferred): The critic calls Baz Luhrmann’s whirlwind biopic cinematic dynamite with electrifying performances from Austin Butler and Tom Hanks. It singles out Butler’s physical, emotional and electrical energy in the title role for particular praise. [Read](https://www.theguardian.com/film/2022/jun/26/elvis-review-blistering-turbocharged-chronicle-of-the-king) - **Time Out**, Phil de Semlyen (4/5): Luhrmann bounces back with a larger-than-life, energising and wildly entertaining anthem to the King that centres the Black roots of the music. Austin Butler delivers a show-stopper performance as Elvis. [Read](https://www.timeout.com/movies/elvis-2022) - **The Hollywood Reporter**, David Rooney (75/100, inferred): The critic praises the film's kinetic, maximalist style and Austin Butler's performance as Elvis but criticizes the narrative focus on the exploitative Colonel Tom Parker and the resulting emotional distance from the subject. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/elvis-baz-luhrmann-cannes-2022-1235152957/) - **Variety**, Owen Gleiberman (75/100, inferred): Luhrmann's film is a fizzy, deliriously energetic pop-opera biopic that captures the Elvis mythology in a compelling if scattershot way until the powerful Vegas sequences. Butler's performance improves markedly in the later years, building to something moving and true despite the film's imperfections. [Read](https://variety.com/2022/film/reviews/elvis-review-austin-butler-tom-hanks-baz-luhrmann-1235269244/) - **Empire**, Olly Richards (70/100, inferred): The critic praises the performance sequences as a triumph and Austin Butler's sensational portrayal of Presley across decades, but notes the film keeps its subject at a distance with little exploration of interior lives or subtler feelings. [Read](https://www.empireonline.com/movies/reviews/elvis-2022/) - **Screen Daily** (70/100, inferred): The biopic is lavish, passionate and overblown as expected from Luhrmann, with electric concert sequences that recapture Presley's vitality, but attempts to go beneath the surface prove less convincing and the Parker perspective is only intermittently rewarding. [Read](https://www.screendaily.com/reviews/elvis-cannes-review/5170586.article) - **The i Paper**, Geoffrey Macnab (70/100, inferred): The critic calls the biopic a fitting tribute with tremendous concert scenes and a vivid sketch of Elvis, praising Butler's capture of feral energy while noting it skims the surface and does not dig deep. [Read](https://inews.co.uk/culture/elvis-fans-will-love-baz-luhrmanns-tremendous-thrusting-biopic-1653515) - **Vulture**, Bilge Ebiri (70/100, inferred): The critic finds the film bloated, hectic and excessive but ultimately likable for its mesmerizing focus on the feeling of being beside greatness and the dynamics of stardom, despite the Colonel's narration device. [Read](https://www.vulture.com/2022/06/baz-luhrmanns-elvis-might-be-a-hazard-to-your-corneas.html) - **The New York Times**, A.O. Scott (65/100, inferred): The film is an operatic, chaotic anti-biopic that lurches and wobbles in its handling of Elvis's story. It ultimately succeeds as a musical where the music, remixed and anachronistic as it may be, shines through powerfully. [Read](https://www.nytimes.com/2022/06/23/movies/elvis-review.html) - **The New Yorker**, Anthony Lane (60/100, inferred): Luhrmann delivers a lively, unsubtle telling of the Elvis tale that sucks in less knowing viewers despite its familiar biopic structure and gaps in key moments. The film questions whether it critiques or continues the mainstream absorption of Elvis's revolutionary style, landing more on charm than danger. [Read](https://www.newyorker.com/magazine/2022/07/04/how-elvis-plays-the-king) - **Film Comment**, Clinton Krute (50/100, inferred): The critic finds the film overstuffed and garish but notes that archival footage at the end makes it unexpectedly heartbreaking. Praises the focus on the exploitative relationship with Parker but criticizes some historical simplifications. [Read](https://www.filmcomment.com/no-business-like-snow-business-elvis-baz-luhrmann-review/) - **Sight and Sound** (30/100, inferred): The critic views it as a frenetic jukebox musical heavy on style and light on substance that never quite reaches the heart of its subject. Austin Butler's swaggering yet sensitive performance is singled out for praise amid the razzle-dazzle. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/elvis-frenetic-jukebox-musical-thats-heavy-style-light-substance) - **Deadline**, Pete Hammond (90/100, inferred): The critic praises Luhrmann’s visual and vocal feast of a biopic, highlighting Austin Butler’s thrilling performance as Elvis and Tom Hanks’ memorable portrayal of Colonel Tom Parker. He singles out the 1968 comeback special sequence and the poignant use of real footage of the late Elvis for praise. [Read](https://deadline.com/video/elvis-review-austin-butler-tom-hanks-baz-luhrmann-biopic/) - **Polygon**, Oli Welsh (85/100, inferred): The critic praises Luhrmann as the ideal director for capturing Elvis's legend with high camp, sincerity, and virtuoso musical set pieces that are thrilling theatrical spectacles. Austin Butler and Tom Hanks deliver compelling performances, with the film succeeding as a ravishing, emotional tribute that puts the King back where he belongs. [Read](https://www.polygon.com/reviews/23180048/elvis-review-baz-luhrmann-tom-hanks-austin-butler/) - **HeyUGuys**, Luke Walpole (4/5): The critic finds the film a conventional but exhilarating music biopic elevated by Luhrmann’s energetic direction and Austin Butler’s charismatic, star-making performance as Elvis. The second half feels baggy, but the overall result is an enjoyable, if imperfect, look at the icon’s rise and cultural impact. [Read](https://www.heyuguys.com/elvis-review/) - **NME**, Alex Flood (4/5): Luhrmann delivers a bold, flashy biopic that works as both entertainment and cultural history lesson, with strong performances and soundtrack. Highlights the focus on Parker's influence and Elvis's tragic end. [Read](https://www.nme.com/reviews/film-reviews/elvis-review-3249220) - **/Film**, Rafael Motamayor (7/10): The critic describes the film as an electric, excessive musical biopic told through Colonel Tom Parker’s perspective, with comic-book energy, lavish production design, and rapid editing. Austin Butler’s outstanding performance as Elvis stands out as career-defining amid the maximalist style. [Read](https://www.slashfilm.com/875608/elvis-review-an-electric-excessive-musical-biopic-that-feels-like-a-comic-book-movie-cannes/) - **The Wrap**, Steve Pond (70/100, inferred): The critic sees the film as a spirited homage mixed with a cautionary tale and showcase for Austin Butler’s terrific performance, but also notes it gleefully distorts the icon’s life and career with oversimplifications and fabrications. He praises the musical sequences and the use of real footage of Elvis at the end. [Read](https://www.thewrap.com/elvis-movie-review-baz-luhrmann-austin-butler/) - **Den of Geek**, David Crow (3/5): Austin Butler's performance is transcendent, making the film a dazzling spectacle despite its excesses and chaotic nature. Criticizes Hanks' portrayal and some anachronisms but overall sees it as a victory in its bombast. [Read](https://www.denofgeek.com/movies/elvis-review-austin-butler-shaken/) - **Collider**, Ross Bonaime (C): The critic argues that Luhrmann's flashy, gaudy style overwhelms the substance of Elvis Presley's life story, turning the biopic into more spectacle than meaningful drama focused on the manager-performer dynamic. Austin Butler's performance is singled out as the saving grace that brings the character to life on stage. [Read](https://collider.com/elvis-movie-review-austin-butler-tom-hanks-baz-luhrmann/) - **The Ringer**, Paul Thompson (30/100, inferred): The critic finds that Luhrmann buries Elvis's legend under excessive metaphors, unreliable narration devices, and tedious maximalist tics that feel like a brainstorming session rather than a coherent film. Austin Butler's strong performance is noted but ultimately suffocated by the surrounding style and lack of focus on the subject's irreducible myth. [Read](https://www.theringer.com/2022/06/27/movies/baz-luhrmann-elvis-review) ## Details - **Director:** Baz Luhrmann - **Director:** Baz Luhrmann - **Screenplay:** Jeremy Doner, Sam Bromell, Baz Luhrmann, Craig Pearce - **Story:** Baz Luhrmann, Jeremy Doner - **Cinematography:** Mandy Walker - **Editor:** Matt Villa, Jonathan Redmond - **Music:** Elliott Wheeler - **Production design:** Catherine Martin, Karen Murphy - **Costume design:** Catherine Martin - **Producer:** Gail Berman, Patrick McCormick, Baz Luhrmann - **Cast:** Austin Butler as Elvis Presley; Tom Hanks as Colonel Tom Parker; Olivia DeJonge as Priscilla; Helen Thomson as Gladys Presley; Richard Roxburgh as Vernon Presley; Kelvin Harrison Jr. as B.B. King; David Wenham as Hank Snow; Kodi Smit-McPhee as Jimmie Rodgers Snow - **Runtime:** 2h 39m - **Certificate (MPA):** PG-13 - **Release (the US):** 24 June 2022 - **Genres:** Music, History, Drama - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2022); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2022); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 2022) - **Budget:** $85 million - **Box office:** $289 million - **Trailer:** https://www.youtube.com/watch?v=ZbrmBotVIGw ## Where to watch in the US - Apple TV: rent $5.99, hd - Amazon Prime Video: rent $5.99, uhd - Apple TV: buy $14.99, hd - Amazon Prime Video: buy $14.99, uhd *Checked 2026-09-20.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2023: Best Picture (nominated) - Golden Globes 2023: Best Motion Picture – Drama (nominated) - David di Donatello for Best International Film 2022: David di Donatello for Best International Film (nominated) ## If you liked this - *Strictly Ballroom* (1992), Fi1m 83: Luhrmann before the money, with the same love of sequins and a story that holds. — [Fi1m page](https://film.one/film/strictly-ballroom.md) - *Amadeus* (1984), Fi1m 91: Another genius told by the jealous man beside him, and the device actually works. — [Fi1m page](https://film.one/film/amadeus.md) - *Love & Mercy* (2014): Brian Wilson, a controlling handler and a quieter, sadder account of what management costs. - *Control* (2007), Fi1m 80: A music film in black and white with no glitter at all, and it stings. — [Fi1m page](https://film.one/film/control.md) - *Elvis: That's the Way It Is* (1970): The real man in Las Vegas, in rehearsal and on stage, no narrator required. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/elvis