Elvis incorporates every significant beat while following the 42-year life and career of the all-time best-selling solo. We observe the singer's dramatic ascent to prominence in conservative times during the 1950s, paying tribute to the African American gospel and blues traditions that served as his inspiration. Focus then shifts to his famed 1968 Comeback Special before the Las Vegas residency jumpsuit era and his deterioration in the 1970s, skipping most of the 1960s when he produced mostly subpar films.

Many aspects and is structured like a jam-packed typical rock star biopic with some Baz Luhrmann glitter and surrealism on top. However, as seen through memories of Tom Hanks' Colonel on his deathbed in 1997, as scenes whizz and dazzle around from the get-go, the movie's distinctive attraction is being absorbed in feeling Elvis rather than just seeing him.

Even with some interesting modernized remixes by contemporary musicians, Elvis is undoubtedly engaging, especially during the musical portions. Austin Butler's incredible performance makes a bigger difference. He immersed himself in everything related to The King, paying attention to even the smallest aspects of his demeanor.

Butler may not resemble Elvis in any way, but as he gets going, especially during the Comeback Special gyrations and jumpsuit era dives, he suddenly does. It was also enjoyable to watch Tom Hanks, who is always charming play Colonel Tom Parker in a dislikeable and ridiculous way.

Nevertheless, given how much time has passed, the movie is ultimately wonderful outrageous homage to one of the most well-known figures in entertainment history, even if it does come 20 years later than it should. The King's conservative views, his spiritual convictions, and other significant women in his life besides Priscilla are among the many things that are left out despite the fact that a lot is packed in.