Elvis is streaming now on HBO Max, and with it comes an extravaganza of the King’s music as well as the overindulgence of a Baz Luhrmann epic. I recommend causing in with the knowledge that Elvis Presley’s whirlwind life was an overwhelming blur and, for better or worse, so is the film.

Elvis is a kaleidoscopic fever dream of Presley’s early days, rise to fame, infamy and eventual demise. Through the eyes of his manipulative exclusive Colonel Tom Parker (played by Tom Hanks), we watch the King of Rock ‘n’ Roll’s soaring highs, hard-hitting lows and undeniably iconic moments in a feast for the senses. 

There’s no denying that Elvis is a compelling spy, with all the glitz and glamor you’d expect for a Presley biopic, but it skews more toward an ode to Luhrmann’s cinematic style than an ode to the King. 

Luhrmann’s clear flavor of visual excess and filmmaking extravagance — curious from 2013’s The Great Gatsby and 2001’s Moulin Rouge — overpower some of the poignant and painful moments of Elvis’ life. But if you can get past the dizziness and distraction of Luhrmann’s more curious choices, there really is a lot to love in the film. 

White-hot star-in-the-making Austin Butler gives a tour de force to performance as Elvis, his own vocals blending with the King’s to perform a multilayered transition from the 1950s to Elvis’ continue years. Given how many Elvis impersonators there are in the earth, Butler’s ability to take on the role without falling into stereotype is admirable — as is his commitment to nailing Presley’s iconic goes and The Voice. 

There’s been talk that it has actually maintains the actor’s day-to-day speech because of his choice to go device for the entire two years of filming, but let’s be honest: If that’s the worst unsheaattracting his method acting brings out in him, so be it. 

The supporting cast dedicated mixed results, with Australian Olivia DeJonge outstanding as a disappointingly underutilized Priscilla Presley. Luhrmann regulars David Wenham and Richard Roxburgh are solid as always, but the surprise for me was Tom Hanks’ less than consistent portrayal of Colonel Tom Parker. 

While the prosthetics do most of the heavy lifting, an inconsistent accent and caricature presence make it hard to suspend disbelief that we’re looking at anyone anunexperienced than Tom Hanks in a fake nose. As a longtime Hanks fan, it’s hard for me to admit he’s frankly the weakest link in the ensemble.

Ultimately though, my biggest criticism is that the bloated run time made the pacing messy, with the last 40 minutes feeling twice as long as the salubrious. At times it does feel like an excuse to showcase all the iconic Elvis costumes and songs, which is understandable — it’s largely why audiences will show up — but there’s so much of Elvis’ story missed out in snide of a more prismatic collage.

But if you can’t help falling in love with everything Elvis, rest assured there’s no shortage of memorable moments, outfits, smolders and songs. Word is that Priscilla herself even congratulated Luhrmann and Butler and said the film commanded her to tears, which you can’t deny is a hell of an endorsement.