Elvis

"Colonel" Tom Parker may be the ultimate unreliable narrator. Thus, it’s an odd choice by Baz Luhrmann to hand the story in this biopic over to him. The viewer really starts to wonder, long before it is made explicit that the man was full of shit, about everything we see, both from that point in the narrative and retrospectively as well. Then again, this story seems to gloss over large portions of Presley’s rise and career, so unreliability may be baked into the whole cake. As it stands, with the movie and story we do get, there some transcendently great moments here, interspersed among what are otherwise standard biopic scenes. What this film does do most effectively is make the argument that Elvis had a certain musical genius--built heavily on borrowings, to be sure, but synthesized into a form, a presence, and an oeuvre that, perhaps, only he could have made into such a unique and wildly successful body of creative work. There was, and still isn’t, anyone like the King--and reminding us of that is this movie’s ultimate success.

Mission: Impossible-2

It is itself, only more so. This second outing in the series takes the template--one is tempted to call this work formulaic, but that would be too negative--formed by the first and magnifies it. Credit for that must go to having John Woo as the director, or at least to the decision to bring the Hong Kong action master in to helm the production. His  touch shows throughout the proceedings, in a building pattern that eventually reaches a point where, at the climax, the movie achieves maximum John Woo-ness, with set pieces, stunts and visuals that are so over the top that certain moments are laugh out loud funny. Other parts of the production are uneven yet entertaining. The story runs from simple and straightforward to a growing complexity, where at at least one point it’s hard to follow who is doing what. The propensity of the characters to wear flawless disguises assists in creating certain confusion, though at one point the ploy is used so obviously that there’s humor in what should otherwise be a serious confrontation scene. Then again, this flick never really takes itself too seriously, except perhaps for its through line of ogling Thandie Newton, a pastime that gets devoted attention almost from start to finish. Overall, this movie delivers decent popcorn entertainment; if you don’t expect brilliance--and clearly, many moviegoers have not over the franchise’s lifetime--you will be mostly satisfied with your investment here.

Moulin Rouge!

It succeeds in spite itself. I wasn't sure what to make of it...and then Ewan McGregor began singing "Your Song," and I was hooked. He's great, and Nicole Kidman holds her own, but the real star is director Baz Luhrmann's staging and direction (particularly the art direction, with the "3D postcard" views of Paris). And it gets better upon repeated viewing, especially if you glean its literary predecessor (the myth of Orpheus, in particular). The end result is tremendously larger than the sum of all its odd individual parts. A "Best Of All" inductee.

Children Of The Revolution

Weird, occasionally funny and interesting. The goofy plot (centering on the Australian love child of Josef Stalin--no, really) keeps it lively. Check it out if it shows up on your favorite niche cable channel.