Priscilla

Funny the stark contrast with ELVIS-22, and even being about Priscilla a much better, more interesting movie about him than Luhrmann's. Culturallly a vast improvement -a sober look at U-S-A! pop that's both personal and political- but so understated -so confident?- you may classify it as a minor Sofia Coppola. And perhaps it is.

Guess it'll never be top tier Sofia -- mostly a production designer effort (the level of detail is impressive and yet so subtle) than actually hers --, but hey, still prefer this than 90% of biopics out there. And Cailee and Jacob shine big time.

A child-like Elvis grooms his teenage bride, which is endlessly, sweetly horrifying. This is some of Coppola's best filmmaking, striking in every detail, except that the bigger picture becomes repetitive fast and leaves with the good taste of subdued emotion. We're stuck in a corrupt relationship and at the end, we aren't anymore.

stuck inside, immobile, with the Memphis blues again

The story and its characters feel soft and distant. To its credit, nothing is ever sensationalized (its scenes of abuse are gently presented), but we are given hazy montage in place of introspection and unfocused time jump in place of character study. Necessary antidotal viewing for anyone who has consumed Elvis media, and occasionally a subtly profound film in its own right, it nevertheless comes across a bit pale.

Nobody understands the loneliness lurking beneath the facile pristine beauty shaped by the intertwining of femininity and privilege and thus the expectations therein quite like Sofia Coppola. A modern muted Marie Antoinette, unnurtured flower wilting in a gilded cage, forced to be an accesory, caught in endless whirlwinds of fury and control ever whisking her back to the same seemingly widening, empty Graceland living room. A biopic of the internal woe of your own story being rejected.

I feel the way that I feel about many Sofia Coppola films, which is that they are pretty and well-acted, but often hard to connect with. The power dynamic between Elvis and Priscilla is well and disturbingly portrayed, but the film doesn't really plumb much deeper thematically, other than to show the controversial beginning and slow deterioration of their relationship. It is well acted, but ultimately feels like a somewhat fruitless experience.

I'm underwhelmed. It's fine overall, but I expected more. The script isn't great, there's barely any subtlety, and the performances didn't wow me.

Priscilla Presley was the Executive Producer but Elvis was a c*nt so it does balance out.

This movie is not getting the plaudits it deserves. The degree of difficulty on capturing this story this way is so high and Coppola absolutely nails it. The capturing of the wrongness and creepiness of this story without hitting the viewer over the head with it shows great sophistication and restraint. Someone could easily watch this and not get that at all if they weren't paying proper attention. The makeup work and performance of Spaeny (I think the second best of the year) are superb.

While it is aesthetically pleasing, it lacks impact, and it felt boring as a result, especially the second half of the film.

A typical Sofia Coppola in my book: more atmospheric than deep, quite distant and clinical, yet attractive in its presentation so easy to plod through. Kind of a benzo-movie, so to speak and that's also fitting to the character's self medicating behavior. A good role by Spaeny, who learns how to stop waiting for Elvis' emotional availability. I'm glad this had nothing of a biopic, not even any Elvis original tunes. It's so toned down that it forms a nice antipode to the hysterical 2022 biopic.

She’s back, baby. If you had any doubts they are washed away quickly when the film starts with Baby, I Love You cover by the Ramones (underrated album by the Ramones). Works as a guiding light for how the rest of the film is going to unfold. This cool but all so syrupy mess about wanting someone to love you so bad. Manages to capture the loneliness of relationships through color palette and room decor alone. The unbearable dread of being swept up into someone else’s life and losing your own.

I'd say that this makes for an interesting contrast/companion piece to Luhrman's Elvis, but I definitely do not want to encourage anybody to watch that movie.

Cailee Spaney gives a good lead performance in this film. Her performance helps make this film interesting. There are some slow spots in this movie. Overall I would recommend this film.

Spaeny more than acquits herself but Elordi doesn't give a very good performance, and the monotonous storyline isn't dramatically sound.

Starts strong and then rushes to the finish. Still fascinating but it’s more of a film about Elvis and Priscilla is secondary in her own biopic.

Coppola provides style and grace, and the first act is the highlight. Then things go downhill. It's all been done before. We learn more about Elvis than we do Priscilla.

This could have been a typical mid-west American girl marriage story to the popular boy at her high school. Their story is told in a terrifyingly shallow manner, awaiting to be deep soaked in the mud.

A toned down version with what feels a lot of details left out, but looking through the eyes of Priscilla now, as on old lady, probably how she wants to be seen. We see the film develop and narrate through atmospheric scenes with little glimpses of wild life. Priscilla's perception of the birdie in a golden cage feels almost claustrophobic. The grooming part feels very weird in this age and day, but hey, if the society didn't see it as problem at the time I won't judge. Sublime flick!

Canım benim Elvis. Elvis Presley'in askerlik yıllarında tanıştığı genç çocuk küçük sevgilisi Priscilla ile aşkını izliyoruz. Önceleri Priscilla'nın Elvis'in şöhret ve yakışıklılığını kullanırken, Elvis'de Priscilla'nın gençliğini ve güzelliğini kullandığını görüyoruz. Caile Spaeny ve Jakob Elordi'nin harika oynadığı film, kurgusuyla sürüklüyor. Sofia Coppola yönetmenliğini kullanmış. Filmin sonunda, Bırakıyorum seni. Kanat takıp tutsan. O kuşu da tutsan. Kafesine alsan da. Beni aldattın.

Great as Priscilla's book Elvis and Me. Very fine performants of Cailee Spaeny.

Enjoyable, but almost surely Coppola's worst film. Lacks the pizazz and excitement of her other films.

Elvis "Groomer" Presley

Coppola's exploration of the rocky relationship between Mr. & Mrs. Presley treats them as a case study of a toxic relationship, perhaps even more fascinating on the happenstance (?) heels of Luhrmann's film. Taking an objective stance, Coppola avoids portraying Elvis as a monster, thanks to Elordi's award calibre evocation; as Priscilla, Spaney always retains the character's agency, perhaps even blurring the line of victimhood. A well-chosen soundtrack wisely avoids most of Presley's songs.

Disappointing, fairly conventional linear biopic which tells the story of a relationship through Priscilla’s eyes. Soundtrack is good.

Disappointing. There's some great performances here, but the awful pacing towards the end left it feeling a bit rushed or unfinished, and ultimately a bit unsatisfying

Thiswasdefthewaytoseethisstorylol+gotworseandworse+dollyalwaysloveyou

I cringed every time he called her 'little one'.

Oh, the romanticism of Sofia Coppola. Her talent to criticize while *simultaneously* glamorizing always astounds me.

A film that can't seem to make up its mind about what it wants to be. So the audience gets bored... Bold if accidental choice to not have any Elvis songs!

Very smartly observed. Sofia Coppola captures the blush of new romance, but also the banality of the relationship’s inevitable toxicity. Elordi completely finds that balance of alluring fantasy and icky manipulator.

This movie is great in many technical aspects, but lacks the most important part of any film... emotional impact. The priscilla character far too passive in her own life, that her own eventual emancipation felt dull and flat. This film will do well during the awards shows, but will be mostly forgotten in 5 years.

I really like Cailee Spaeny, but she is deserving of a much better movie. Priscilla is just so listless and underwritten. The costumes are gorgeous, and I like what Sofia Coppola is trying to do stylistically with some of the visuals and anachronistic music, but realistically the audience can only take so many shots of Priscilla just sitting there looking board. I get that it's intentional to create a very specific mood and perspective, but it just doesn't make for a very entertaining movie.

Pacing issues strike the last act, but otherwise this is a great fairy-tale-turned-nightmare. A hazy, ruefully nostalgic portrait of young love distorted by fame, unchecked power, and toxic masculinity. Totally believable. The two leads give spot-on performances. The scene where Priscilla stops to carefully apply her fake eyelashes after her water’s broken may be the top moment for me in a film this year.

The movie was really well done. I would want to know tho how much of this was accurate vs creative licensing. If it is not very accurate I'd lower this score. Interesting story. And potentially learned a lot about Elvis I did not know (maybe).

The film is technically proficient and well made, but I found the dreamlike way the subject matter is presented to be extremely problematic and disturbing. It’s hard to go with Elvis and Priscilla’s love story when their relationship is so toxic.