Priscilla (15, 113 mins)?
判決: Return to sender
Anyone But You (15, 103 mins)?
判決: Lame romcom???
Elvis Presley himself said it best, or rather sang it: 'We're caught in a 罠（にかける）, I can't walk out, because I love you too much, baby'.
Those 開始 lyrics to his 1968 攻撃する，衝突する 怪しげな Minds weren't a 言及／関連 to the 関係 with the former Priscilla Beaulieu that had begun when he was 24 and she was just 14. But they might easily have been.
Sofia Coppola's film Priscilla begins in West Germany in 1959 where Elvis, like Priscilla's stepfather, is 駅／配置するd with the U.S. 軍の. After one of his acolytes 位置／汚点／見つけ出すs her sipping Coke at a 反対する, Priscilla (nicely played by Cailee Spaeny) is 招待するd to a party at the Presley home.
To, yes, 怪しげな minds, this looks grimly like the 性の 調達 of a minor, 特に when an evidently bewitched Elvis (a 井戸／弁護士席-cast Jacob Elordi) 招待するs her upstairs and asks her a rhetorical question: 'Where have you been all mah life?' It is only in the audience that the obvious 非，不，無-rhetorical 返答 occurs: that she wasn't alive for nearly half of it.
But, undaunted by her 極端に tender years, he starts sobbing to her about his homesickness and the 最近の death of his mother. 'Ah wish my mama could've met you,' he whines.
Coppola has said she was 奮起させるd to tell the story by her own experience of growing up with a famous, overbearing father 人物／姿／数字 (director Francis Ford Coppola), and that Priscilla Presley's memoir struck a chord
It is hard to understand why. All she has done so far is smile sweetly. Still, this attention from Elvis the King, even though he is 一時的に 退位させる／宣誓証言するd from his 王位 while he serves in the army, touches her young heart. And soon enough the 残り／休憩（する） of her is touched, too.
Yet Elvis, によれば both the film and Priscilla's 1985 memoir Elvis And Me, on which it is based, 辞退するs to engage in actual sex until they are married more than seven years later. Even when she is old enough he tells her that her virginity remains sacred to him. We are perhaps ーするつもりであるd to admire his gentlemanly 抑制. Instead, it makes him seem weird and controlling.
And once she is 任命する／導入するd at Graceland, 支援する in Memphis, his possessiveness and 支配（する）／統制する-freakery get worse. She is lavished with gifts ― a poodle, a car, a handgun ― yet told what she can and cannot wear.
At her parents' 主張 she …に出席するs high school, but must on no account bring friends home.
Elvis's 影響（力） is downright baleful. To keep her awake at school after late nights at Graceland, he plies her with amphetamines. For every dress in her wardrobe, he gives her a matching gun. By this point, sanity has left the building.
Elvis, によれば both the film and Priscilla's 1985 memoir Elvis And Me, on which it is based, 辞退するs to engage in actual sex until they are married more than seven years later
Sofia Coppola's film Priscilla begins in West Germany in 1959 where Elvis, like Priscilla's stepfather, is 駅／配置するd with the U.S. 軍の
Undaunted by her 極端に tender years, he starts sobbing to her about his homesickness and the 最近の death of his mother
Once she is 任命する／導入するd at Graceland, 支援する in Memphis, his possessiveness and 支配（する）／統制する-freakery get worse
After one of his acolytes 位置／汚点／見つけ出すs her sipping Coke at a 反対する, Priscilla (nicely played by Cailee Spaeny) is 招待するd to a party at the Presley home
My problem with all this is not that it isn't 利益／興味ing, but that it seems relentlessly 協議事項-driven.
Coppola has said she was 奮起させるd to tell the story by her own experience of growing up with a famous, overbearing father 人物／姿／数字 (director Francis Ford Coppola), and that Priscilla Presley's memoir struck a chord. Priscilla herself is one of the film's (n)役員／(a)執行力のある 生産者s.
Whether or not the pair of them ーするつもりであるd to make Elvis look irredeemably creepy, that's how he 現れるs, with not nearly enough 証拠 of his beguiling 教祖的指導力.
It is perhaps no surprise that the Presley 広い地所, now owned mostly by a brand 管理／経営 company, 否定するd Coppola the 権利s to play his songs, but it creates a major problem.
The movie begins with Baby, I Love You by The Ramones and ends with Dolly Parton singing I Will Always Love You. They're 広大な／多数の／重要な 跡をつけるs, but they're not Elvis.
Elvis began his 関係 with the former Priscilla Beaulieu when he was 24 and she was 14
The only time we get any sense of his genius as a performer is when he does a Jerry 物陰／風下 吊りくさび impression, belting out Whole Lotta Shakin' Goin' On. That's not the same as All Shook Up. Which is how this film might make you feel, only not in a good way.
Still on the 支配する of 肩書を与えるs, on ボクシング Day night I dutifully went to see Anyone But You (so that you don't have to), and as a 言及／関連 to all those who didn't make it to 審査する 2 at the Odeon Hereford for the 8.45pm showing, 個人として re-指名するd it Everyone But Me. Yes, I 耐えるd it 完全に on my tod.
Now, there have, 負かす／撃墜する the years, been some fabulous movies 奮起させるd by Shakespeare plays, の中で them classic 審査する 見解／翻訳／版s of 行う／開催する／段階 生産／産物s such as West 味方する Story (Romeo & Juliet) and Kiss Me Kate (Taming Of The Shrew), not to について言及する My Own 私的な Idaho (Henry V) and indeed The Lion King (Hamlet).
Anyone But You, is a romantic comedy loosely based on Much Ado About Nothing, with Glen Powell and Sydney Sweeney as squabbling would-be lovers Ben and Bea
The 対話 is glib, the slapstick unfunny, the 関係 dynamics implausible
Then in the 非，不，無-fabulous 部類 there is Anyone But You, a romantic comedy loosely based on Much Ado About Nothing, with Glen Powell and Sydney Sweeney as squabbling would-be lovers Ben and Bea. They do their best, but the film, directed and co-written by Will Gluck, gets just about everything else wrong.
The 対話 is glib, the slapstick unfunny, the 関係 dynamics implausible.
On the upside, as a showcase for 罰金 musculature and 広大な／多数の／重要な dentistry, it cannot be faulted.
A longer review of Priscilla ran during the Venice Film Festival. It opens across the UK on Monday.
