February 22, 2026 · Watch the trailer
As Baz Luhrmann was researching and developing his Oscar-nominated film “Elvis” for the big screen, he stumbled upon reel after reel of lost footage of Elvis Presley preparing for—and performing in—his signature showcase at the International Hotel in 1970s Las Vegas.Originally intended simply as background material and reference points for his biographical tale, Luhrmann began assembling more and more of the footage, to the point where creating a separate, standalone film became undeniable. The restoration and compilation of hours of previously unreleased material finally reaches the big screen in the form of “Baz Luhrmann’s EPiC: Elvis Presley in Concert,” which debuted one week early on IMAX screens before its wide release.The astonishing depth of material Luhrmann showcases across his hundred minutes—part documentary, part concert film—reveals the mastery of its titular icon at work. And once the film shifts into the concert experience in earnest, that scale begins to take hold. Audiences are transported backstage, onstage, and into the rehearsal space, watching Presley quite literally curate his sound—first with a small rhythm and blues band, and then with an increasingly expansive orchestra and choir.To bring these reels to life, Luhrmann turned to Peter Jackson—whose revolutionary World War I documentary “They Shall Not Grow Old” set the standard for archival restoration. Jackson’s meticulous work stabilized shaky reels, revitalized color, and enhanced sound using cutting-edge techniques. And just as Jackson restored the visuals, Luhrmann’s team—facing incomplete original sound tapes—reconstructed audio using archival sources and lip-readers, blending it with new gospel orchestration to create a fully immersive soundscape. This deepens the emotional resonance: nuances in Presley’s expressions, his rapport with the band, and the sheer electricity of the live performance become vividly apparent—moments that might otherwise have been lost.Yet for all the meticulous restoration, Luhrmann’s signature flair often overshadows the King himself. His modern visual embellishments—like hyper-stylized transitions and layered digital effects—break the suspension of disbelief. The film at times feels like a glossy, hyper-modern Vegas sheen layered atop the faded neon authenticity of Presley’s era—diluting the raw charm with Luhrmann’s unmistakable stamp.What truly sets this concert film apart is the interplay between rehearsal and final performance. Watching Presley fine-tune a song behind the scenes, and then seeing it come alive on stage, adds a rare layer of insight. Luhrmann’s back-and-forth cutting lets the audience witness the evolution of each track, making the final concert feel like the culmination of raw creative process.One of the most striking moments comes when Presley subtly covers Beatles songs like “Get Back” and “Something.” In those moments, the connection between these icons feels tangible—not through comparison, but because it’s Presley himself interpreting their sound. It’s a rare, authentic bridge between two musical legacies.While “EPiC” aims to educate newcomers to Elvis’s legacy, it assumes a baseline familiarity with his musical journey. Without that foundation, some of the deeper resonances may feel elusive, leaving the film more rewarding for longtime fans than for total newcomers.The pacing evolves notably: the first 20 minutes lean into a heightened documentary tone, contextualizing Presley’s era with Luhrmann’s unmistakable stylistic stamp. But as the film transitions into the concert footage, it’s Presley who begins to speak for himself. The more the concert is allowed to unfold, the more it feels like Elvis is reclaiming the narrative, offering pure performance with minimal interference.Though “Baz Luhrmann’s EPiC: Elvis Presley in Concert” is designed for IMAX, there’s nothing so essential in the restored footage or concert scale that demands the premium format. The energy, performances, and restored moments resonate just as effectively in any theater—or even in a future home viewing—without losing their impact.
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