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Baz Luhrmann’s remarkable Elvis treats its subject as a serious artist, rejecting the impulse to portray him as a grotesque clown.

After two years playing one of rock ’n’ roll’s biggest icons, Elvis star Austin Butler is just learning how to relax.

ALL Shook Up may be the obvious song title to reach for to convey how Austin Butler’s portrayal of Elvis Presley is leaving fans. But that’s the only thing cliché about a big-screen resurrection that had even Priscilla Presley convinced from the opening credits.

ALL Shook Up may be the obvious song title to reach for to convey how Austin Butler’s portrayal of Elvis Presley is leaving fans. But that’s the only thing cliché about a big-screen resurrection that had even Priscilla Presley convinced from the opening credits.

Baz Luhrmann is cinema’s reigning maximalist, chopping up sound and image like a Cuisinart, pushing to turn every scene into a Big Moment, obliterating the boundaries of sensory overload. But with Elvis, his bracing and refreshingly focused biopic of Elvis Presley, he taps the brakes just a little bit, enough to let his larger-than-life subject breathe, enough to tell a very American story of deals with the devil, creative ecstasy, and, finally, fatal exhaustion, both emotional and physical. This is Luhrmann’s most complete movie since 1996’s Romeo + Juliet.