Tom hanks

The hips are electric but you will be willing it to stay put: Baz Luhrmann’s Elvis reviewed

Elvis is Baz Luhrmann’s biopic of Elvis Presley and it’s cradle to grave but told at such a gallop you’ll be willing it to stay put even if it’s just for two minutes. You may even be begging: Baz, come on, just hold still. But no, we’re off again. I’ve had fever dreams that have been less delirious. But on the plus side, even if it’s never deep or enlightening, it has a fizzing energy, and because it doesn’t dwell on anything, we don’t dwell on fat, sad Elvis at the end. Which is a relief. Because it doesn’t dwell on anything, we don’t dwell on fat, sad Elvis at

This is cinema as car ad, says Geoff Dyer: News of the World reviewed

It’s a premise with plenty of previous. Children whose parents were murdered by Indians on the frontier of the American west are abducted and then adopted by the tribe. Their plight is appalling — female captives were raped as a matter of course — but sometimes the hostages forget their mother tongue and come to relish the nomadic life of the plains. Another round of trauma follows when the adopted guardians are in turn massacred and the orphans are returned to the alien captivity of civilisation. The famous abduction of Cynthia Ann Parker by Comanches in 1836 and the prolonged attempts to find her — followed by her attempts to