Elvis [4K UHD] [Blu-ray] [2022] [Region Free]

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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).

a few times along the way. Frequent musical performances are unsurprisingly a highlight, from the boisterous but more intimate locales seen in Elvis'

Elvis 4K Extras

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. of course, the plethora of music cues), and serves up a strong dynamic range without necessarily making viewers adjust their volume levels more than

It’s a sound mix that is larger than life, perhaps like the unique sound that “The King” provided us with before he left the building for good. Hearing a movie is just as important to be on physical media as it is for the visual perspective, especially for a musical biopic. 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. So many tales (apocryphal or otherwise), so much footage, so many fans and so many who will claim to already know the life of the man simply known as ‘The King’.

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Fit for a King: The Style of Elvis– Essentially the same as the others, though this one focuses on the costume design. For a slightly warmer take on Elvis and a more detailed synopsis of the story, please refer to Brian Orndorf's theatrical review. Curious newcomers, as well as those who saw and enjoyed it theatrically, added an extra help to complete the "Blue Suede Shoes" loop. Thanks rhoogeveen to remind me to add those extra lines to the script. removed workarounds for the vpinmame droptargets as they fully support SSF (hit sounds) with the latest vpinmame. only quibble is that it seems mixed a few decibels lower than reference level, which includes the LFE channel, but listeners most will find this to be a

Alongside that, Luhrmann makes an awful lot of use of sound effects and there’s a beautiful dynamic range to them, again utilising the same balanced tonal mix of the music. Add in the perfectly captured dialogue that’s always clear (when it should be – some of Elvis’s songs have dropped words and slightly muffled lines, but that’s in keeping with the performance aspect of the design) and all three elements are in perfect harmony, delivering a wonderfully complex and layered mix that is an effortless and delightful listen. Elvis” [2022] on 4K UHD Blu-ray is presented in the 2.39:1 aspect ratio with HDR10, Dolby Vision, and HDR10+ forms of high dynamic range. The movie was shot digitally in 4.5K and 6.5K resolutions using the Arri Alexa 65 and Arri Alexa LF cameras with special Panavision Primo, Sphero 65, T-Series “Elvis” and Petzval Lenses. Essentially, what Baz Luhrmann describes is that they used different lenses for the three different decades that are primarily focused on Elvis Presley’s life here. The director actually said the following (below) in one of the extras included with this release. We see the world of Elvis Presley (Austin Butler) through the eyes of Col. Tom Parker (Tom Hanks). He’s looking for an act that’ll set him for life. He hears about Elvis, a young singer whose musical style was influenced by R&B and gospel. Parker, who witnesses a crowd of young girls lose their minds at a concert, sets out to become Elvis’ manager and thus allowing Elvis to provide for his parents. The rest of the film is, well, things we already know. There’s the controversy of his “hip thrusting” on stage and cleaning up his act for television. And, later on, we meet Priscilla (Olivia DeJonge) and fathering his daughter, Lisa Marie. His movies, the drugs, the weight gain and his final years in Las Vegas. There weren’t a lot of creative liberties taken here, and that’s either the film’s strongest asset or its weakest link.It's clear he was a one-of-a-kind prototype musician who was there to change music forever. Unfortunately, like a lot of talented artists, they are easily manipulated by others which resulted in Tom Parker coming aboard and orchestrating a decades-long con on Elvis that prevented him from doing what he wanted. This ultimately led to his turmoil in marriage, his addiction to drugs, and lastly his untimely, sad death. There are great moments of rebellion, his love for his child and mother, and wanting to make the best music and live performance there ever was, which Luhrmann also spotlights as well. But with its long run time and constant flashy sequences, the film can inch away from the story at hand. Luhrmann's long-time wife and frequent collaborator Catherine Martin are first rate, as are most of the musical productions and performances... as Fit for a King: The Style of Elvis (8:02) - Costume designer Catherine Martin, Butler, and others take center stage for an

Cinematographer Mandy Walker reportedly shot the entire film using a combination of ARRI ALEXA 65, LF, and Panaflex System 65 cameras with custom Bigger Than Life: The Story of ELVIS“ (22 minutes, 23 seconds – HD) focuses on the man himself, Elvis Presley, and how this unconventional biopic pays tribute to his legacy as well as tells the story of his crooked manager. Here you’ll get lots of behind-the-scenes footage, on-set footage, clips from the film, footage from Graceland (in Memphis) as well as Elvis’s birthplace (Tupelo), and interviews with the following people: Baz Luhrmann (director, producer, writer), Austin Butler (Elvis), Tom Hanks ( “Colonel Tom Parker”), Catherine Martin (costume designer, production designer, producer), Schuyler Weiss (producer), Gail Berman (producer), Yola (“Sister Rosetta Tharpe”), Kevin Harrison, Jr. (B.B. King), Polly Bennett (movement coach, choreographer), Mark Coulier (prosthetics designer), Shane Thomas (hair and makeup designer), Jason Baird (prosthetics supervisor), Olivia DeJonge (Priscilla), Mandy Walker (director of photography), and Dacre Montgomery (Steve Binder). Lastly, you get over almost an hour of extras here on the Blu-ray Disc. They’re all very informative and worthwhile and I totally suggest them. However, for a film this large about an artist this significant it feels like they should maybe have included more historical footage or performances by the real Elvis Presley. But you can find all of those on DVDs and Blu-rays such as the must-see 1970 music documentary/concert film that Elvis did for MGM called “That’s the Way It Is”— which this film features plenty of recreated material and even audience footage blended in. It's certainly worth a watch either way, if only based on the strength of its source material. The colorful costumes and production design by Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge.This two-disc release ships in a dual-hubbed keepcase with poster-themed cover artwork, a matching foil-enhanced slipcover, a promotional Dialogue, starting with narration, is delivered distinctly from the center channel and mixed perfectly balanced, with zero need for any volume adjustments to be made throughout. Sound effects get mixed into the front and rear channels, not just the height channels (again, as mentioned) and it creates one massive audio experience here. Again, fitting for the person the film is about. 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. Cast: Austin Butler, Tom Hanks, Olivia DeJonge, Helen Thomson, Richard Roxburgh, Kelvin Harrison Jr., David Wenham, Kodi Smit-McPhee, Luke Bracey, Dacre Montgomery, Leon Ford, Gary Clark Jr., Yola, Alton Mason, David Gannon Jump to Sections: