| Oscilloscope | Release Date: June 22, 2018 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
21
Mixed:
6
Negative:
3
|
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Critic Reviews
Elvis achieved a skyrocketing success previously unseen in pop culture, and then became his own victim by letting it get away from him. As Jarecki proves with this extended, sometimes bumpy, but still worthy metaphor, it’s the same with the U.S. We’ve been coasting along for so many years, taking democracy for granted, that the entire structure of the nation is now in peril.
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It's hard to pinpoint exactly when this random, scattershot, overreaching movie stops spinning its wheels and starts flying on a cumulative power that floors you. But when it happens – kapow! By the end we’re looking at Elvis, America and ourselves with new eyes and wondering, once again, if the truth really can set us free.
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The PlaylistJul 19, 2018
By the time Jarecki is done with Elvis, the lanky, and projects-raised, rockabilly kid just one generation removed from sharecroppers has been cast as everything from an opportunist and grasping capitalist to addled addict to just plain sucker. If he ever was the King, the movie suggests, it’s long past time to retire the crown.
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Promised Land is a searching, flawed, let’s-try-this-on-and-see-how-it-looks movie. At times, it veers too close to being a standard Elvis chronicle, and at others its insight into our national neurosis may strike you as a tad ethereal. It’s an essay in the form of an investigation. Yet it’s the definition of tasty food for thought.
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Honestly, I’d probably love this film’s wandering spirit and Elvis-is-everywhere philosophizing if it were half as fast or twice as long, if it pinned any thought down long enough to really TCB. Instead, it’s as scattered and disorienting as the infamous LP Having Fun With Elvis on Stage, an official cheapie that consisted of nothing but the King’s between-songs Seventies stage banter.
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