‘Priscilla’ to Start Streaming on Max on Feb. 23, Ten Days After Disc, Digital Release

A24’s Priscilla, the controversial biopic about Elvis Presley’s wife, will start streaming on Max on Feb. 23.

As previously reported, the film becomes available on Blu-ray Disc (plus DVD and digital) on Feb. 13 from Lionsgate.

Based on the book Elvis and Me by Priscilla Presley, Priscilla has earned $29.5 million at the global box office. The film was directed and written by Sofia Coppola and is currently available for premium digital purchase and rental.

In the film, when teenage Priscilla Beaulieu meets Presley at a party, the man who is already a teen idol and rock ‘n’ roll superstar becomes someone entirely unexpected in private moments: a thrilling crush, an ally in loneliness, a vulnerable best friend. Through Priscilla’s eyes, Coppola tells the unseen side of a great American myth in Elvis and Priscilla’s long courtship and turbulent marriage, from a German army base to his dream-world estate at Graceland.

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Before she died, the couple’s daughter, Lisa Marie Presley, criticized the film as “vengeful and contemptuous,” according to Variety. The late singer’s estate also slammed the movie, denying director Coppola’s requests to use Presley’s music in the film and branding as inaccurate the sets used to depict Graceland.

‘Priscilla’ Due on Blu-ray Combo Pack Feb. 13 From Lionsgate

Based on the book Elvis and Me by Priscilla Presley, Priscilla will be available on Blu-ray (plus DVD and digital) on Feb. 13 from Lionsgate.

The film, which earned $21.3 million at the global box office, is directed by Sofia Coppola (Marie Antoinette, The Virgin Suicides, Lost in Translation). It is already available for premium digital purchase and rental.

In the film, when teenage Priscilla Beaulieu meets Elvis Presley at a party, the man who is already a meteoric rock-and-roll superstar becomes someone entirely unexpected in private moments: a thrilling crush, an ally in loneliness, a vulnerable best friend. Through Priscilla’s eyes, Coppola tells the unseen side of a great American myth in Elvis and Priscilla’s long courtship and turbulent marriage, from a German army base to his dream-world estate at Graceland.

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Priscilla

DIGITAL REVIEW:

A24;
Drama;
$19.99 PVOD; $24.99 Premium Sellthrough;
Rated ‘R’ for drug use and some language.
Stars Cailee Spaeny, Jacob Elordi, Tim Post, Ari Cohen, Dagmara Dominczyk, Lynne Griffin, Luke Humphrey, Olivia Barrett.

We’re at a point in film history where shoddy Elvis biopics outnumber the negligible star vehicles in which meal ticket Presley reluctantly appeared at the behest of money-spinner Col. Tom Parker. Parker is nowhere to be seen in Sofia Coppola’s Priscilla — no one is going to top Tom Hanks’ peerless performance in Baz Luhrmann’s delusional handling so why bother trying? What are the chances of this one being even remotely factual? Surprisingly good! 

We are greeted with a trio of colorfast, distinctively vivid first impressions: the sensualness of walking barefoot across shag carpeting, tapering the corner of one’s eye with a spike of winged mascara, and what the hell is a Ramones cover doing in a Priscilla Presley biopic set at a time when Joey was barely in his teens? Attribute the anachronistic soundtrack to Elvis Presley Enterprise’s refusal to allow director Sofia Coppola the rights to any of the King’s songs. No stranger to using music before its time — Marie Antionette was a big fan of Bow Wow Wow and Siouxsie and the Banshees — Coppola layered her score with cover versions and music by her husband’s band, Phoenix. Lead instrumentals to replace the lyrics viewers have already committed to heart would have worked just as well and without jumbling the time frame.

Add Priscilla Beaulieu’s name to the list of Coppola’s poor little rich girls, advantaged young women with neither the need nor desire to be tethered to the real world. She’s a direct descendant of Marie, the unattended Charlotte in Lost in Translation, the movie star’s daughter in Somewhere, and the entire cast of The Bling Ring. Priscilla had fame thrust upon her the night Terry (Luke Humphrey), one of Elvis’ army buddies (satellite pimps?) spotted the 14-year-old army brat doing her homework in a U.S. military base in West Germany. It’s always been a firm belief that so long as one heir to the Presley throne remains alive, the truth can never be told lest litigation go into extra innings. Much to my surprise and delight, Coppola comes close, so close that there are moments in Priscilla guaranteed to set the Creep-O-Meter into overdrive. Coppola possesses the requisite wisdom and maturity needed to keep the needle peaking in the red and she does so by never once judging her subject.

A mob scene waiting to happen, rather than mingle amongst the people, the King brought the party to him. (Besides, Col. Tom wouldn’t let him leave the compound.) Elvis ain’t nuthin’ but a groomer. The brow begins its long inwardly pucker on the couples’ second “date” when an innocent discussion between the most recognizable entertainer on the planet and a withdrawn ninth-grader transpires in the master bedroom. She buys the pity pitch about his dead momma just enough to consent to a make-out session. Before long he provides pep pills for her to stay awake in class and downers to pass out in Graceland. (In the spirit of Bill Cosby, the placidyl he slipped her was so strong it knocked her out for two days.) He beats her in a pillow fight. Literally. Kings don’t lose. When Elvis realizes that she’s winning, his pillow becomes a weapon to whack her hard across the head. As for inappropriate behavior, according to Ms. Presley, upon whose memoir the film is based, she remained chaste until their wedding night. This way, the subject of statutory rape need not apply. Perhaps most punishing to her psyche was a screening of John Huston’s incoherent in-joke, Beat the Devil. My guess is the reason for the selection had less to do with the picture’s quality and more to do with its royalty free positioning in the public domain.

Don’t these characters have enough money to pay a light bill? Graceland is darker than a David Fincher library at dusk. Seated at their kitchen table, the Beaulieus can barely see their forks in front of their faces. What audiences don’t see is Elvis convincing her parents to allow her to come to Graceland. The one scene always kept from view is an exchange between Capt. Beaulieu and wife Anne concerning their daughter’s future and just what was in it for them.

With his overplayed stutter (“I-I-I love your daughter a-a-and she loves me”), Jacob Elordi’s Elvis at times borders on a Vegas impersonator, while Cailee Spaeny excels at filling in Priscilla’s blank spaces. Alas, the film doesn’t conclude so much as it quickly draws to an end. She longs to be desired by a violent, ill-tempered womanizer, and when it comes time for Priscilla’s breakdown, all the director and she can muster is a little puff instead of a volcano before driving off into an underlit sunset.

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Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone

BLU-RAY REVIEW: 

Street Date 12/8/20;
Paramount;
Drama;
$22.98 Blu-ray;
Rated ‘R’ for violence and language.
Stars Al Pacino, Andy Garcia, Talia Shire, Sofia Coppola, George Hamilton, Diane Keaton, Eli Wallach, Joe Mantegna, Bridget Fonda, Richard Bright, Donal Donnelly, Raf Vallone.

For his latest trick, director Francis Ford Coppola has taken on the challenge of re-editing the oft-maligned The Godfather Part III into something a bit more palatable for fans of the first two “Godfather” films.

The legendary filmmaker has been busy lately quite literally reimagining his career. Last year saw new edits of Apocalypse Now and Cotton Club hit Blu-ray (in the form of Apocalypse Now: Final Cut and Cotton Club Encore, respectively). Those efforts may have given him the nerve to revisit the concluding film of the “Godfather” saga for its 30th anniversary.

Coppola has trimmed the film by 13 minutes (from 170 minutes to a tighter 157), rearranged a few scenes to improve the main story’s pacing, and reworked the film’s opening and closing scenes. He also reverted the title to what he preferred it to be when he was making it with original “Godfather” novelist and screenwriter Mario Puzo. In calling it a Coda with the subtitle “The Death of Michael Corleone,” Coppola sees the film more along the lines of his original intentions — as an epilogue to the story of the original films.

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In the third movie, set in 1979 and 1980, the aging Michael Corleone (Al Pacino) reflects on his decades in charge of one of America’s most notorious crime families, and continues to strive for the legitimacy he claimed to be pursuing in the first two films, which took place in the 1940s and 1950s. He embarks on a scheme to buy out a European conglomerate partly owned by the Vatican, but runs headlong into church corruption and rivals unwilling to give up the old ways.

The story quite cleverly plays into a few real-life events from the late 1970s and early 1980s, namely the death of Pope John Paul I after just a month after his ascendency, and a church banking scandal — though the script has to massage the actual timeline in order to fit the fictional Corleones into the proceedings.

Coppola’s new vision of the third “Godfather” comes complete with a sumptuous new digital restoration. The Blu-ray presentation of the new version comes devoid of extras save for a minute-and-a-half introduction from Coppola, who basically recounts his reasons for the new edit that were already quoted in Paramount’s press release announcing it.

In terms of the film’s new structure, however, some of the cosmetic changes and the shorter running time make the film a bit easier to handle as a standalone movie, but many of the problems that plagued the film upon its original release aren’t so easy to erase.

The first two “Godfather” films on their own tell an almost perfect circular narrative — the contrast in the rise of power between Vito Corleone and his son, Michael, 30 or so years apart. That they were made within two years of each other — 1972 and 1974 — only deepens the connection between the two films as broader, singular work.

It’s no coincidence, then, that supercuts of the first two films in chronological order were already being broadcast on TV by 1977.

Thus, when the third film, released 16 years after the second, by design focuses solely on Michael’s older years and his attempts to transition the family away from crime, it is only natural to compare it with the original, in which the older Vito also hinted at wanting to go legit after tiring of bloodshed. It is not a comparison that works favorably to Part III, despite its many positive traits.

That inevitable comparison may have been why Coppola was reluctant to make a third film to begin with, and when he finally agreed to do it (after reportedly encountering financial problems due to some of his films underperforming in the 1980s), his instincts told him to make it more of an epilogue to the saga rather than a continuation of it. It was the studio that saddled the film with the Part III moniker, and likely the pressure to make it an epic on the scale of the first two (both of which won Best Picture Oscars).

Interestingly, in recutting the film, Coppola discards the leisurely pacing of the original edit, and the entire ceremony of Michael being honored by the Vatican, by moving the scene of Vatican’s banking representative asking Michael for help to be the new opening scene. This new structure is similar enough to how the first film opens, with the mortician asking Don Vito for help, that the obvious intention is to further explore the parallels between the father and son crime lords. If there’s no way to rework the foundations of the film as a whole to get it to measure up, at least its ambitions as a character study give it weight.

It’s an interesting contrast. Vito’s eldest son, Sonny, is so eager to replace his father as a criminal mastermind that his shortsightedness gets him killed, putting Michael in line to take over the family business, a path Vito never intended. The only ambitions of Michael’s eldest son, Anthony, lead him to becoming an opera singer. With Michael’s daughter, Mary, the lynchpin of his attempts to legitimize, Michael has nowhere to turn but his nephew, Vincent, Sonny’s illegitimate son, to serve as the new Don.

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Coppola’s new ending seems to tread on the subtitle as more of a symbolic notion of the main character’s death, rather than the literal one that seemed tacked onto the original theatrical cut.

The further examination of Michael and his ill-fated attempts to scrub his sins are still the film’s greatest asset, even if Pacino’s portrayal seems more akin to his prototypical ’90s persona than his earlier performances as the character. The film’s most-glaring weakness, however, remains the casting of Sofia Coppola in the key role of Mary. The part had originally been intended for Julia Roberts, who dropped out due to scheduling conflicts, and then Winona Ryder, who left just before production due to nervous exhaustion, leaving the director to cast his own daughter in the role.

On paper, Mary’s pivotal place in Michael’s final arc is clear: She’s the shining beacon who will salvage the family’s legacy, much in the same way Vito originally envisioned Michael, but those expectations are threatened when she literally flirts with the criminal underpinnings of the family business, in the form of her cousin, Vincent (Andy Garcia). A more talented performer would have imbued Mary with a life and vibrance that forces the audience to care about her in a way that elevates the film’s reliance on her character. As much as she evolved into a talented director and screenwriter in her own right, Sofia is just not an actress, and her flat performance serves mostly to distract from the strong inter-generational dynamics between Pacino and Garcia — a criticism leveled as much at the film in 1990 as it is today. Given Mary’s foundational position to the story’s emotional underpinnings, no amount of re-editing can minimize that impact.

However, at least Mary’s arc is there for viewers to interpret. A more fundamental problem for the film is the complete absence of Tom Hagen, Robert Duvall’s character from the first two films who was practically another son to Vito and served as the family’s lawyer. Duvall opted out of the project due to a pay dispute, so Hagen was said to have died offscreen and George Hamilton was brought in to play a new family lawyer in a perfunctory role. Without Duvall, the screenplay was forced to put more emphasis on Vincent and especially Mary.

There’s no telling how much an expanded role for Duvall, with Hagen at the heart of the Corleone moral quandaries, would have elevated the film’s potential to stand alongside its predecessors.

Apple Bowing Original Movies Theatrically Ahead of Streaming

As Apple is spending Netflix-like billions on original programming and movies, it has no plans to emulate the SVOD pioneer with  a non-theatrical window.

The media giant reportedly plans to release original movies in theaters exclusively for three weeks ahead of any distribution on the pending Apple TV+ streaming platform.

Apple’s nod to the traditional 90-day window mirrors Amazon Studios, which released Manchester by the Sea in theaters in 2017 before streaming it on Prime Video. The movie went on to win two Oscars, including Best Actor for Casey Affleck.

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Apple is following the traditional Hollywood movie distribution playbook to better leverage cooperation from producers and directors, according to The Wall Street Journal, which first reported the strategy.

Apple video executives include Zack Van Amburg and Jamie Erlicht, who report to services chief, Eddy Cue.

Netflix had planned to release big-budget mobster movie, The Irishman, from director Martin Scorsese exclusively in theaters, but negotiations between the SVOD leader and exhibitors reportedly broke down.

The streamer has steadfastly opted to stream original movies concurrently with any theatrical release — a strategy that results in boycott from most major exhibitors.

Apple’s pending theatrical strategy includes the 2020 bow of Sofia Coppola’s On the Rocks, which stars Rashida Jones as a young woman reconnecting with her eccentric father (Bill Murray).

The film marks Coppola’s first collaboration with Murray since the 2003 indie drama, Lost in Translation, which earned Coppola an Oscar for Best Original Screenplay.

The streamer is also readying documentary, The Elephant Queen, about an elephant leading her herd across Africa.

 

‘Charlie’s Angels,’ ‘The King of Queens’ Series Sets on Mill Creek October Disc Slate

Complete series sets of the classic 1970s TV show “Charlie’s Angels” and “The King of Queens” are among the titles on the October disc slate for Mill Creek Entertainment

Due Oct. 15 is the complete series of “The King of Queens,” starring Kevin James and Leah Remini, on DVD. The series, which ran for nine seasons, stars James as Doug Heffernan, a lovable regular guy with an adoring wife, Carrie (Remini), and a frustrating father-in-law (Jerry Stiller) under his roof. The set is priced at $74.98.

Oct. 29 comes the complete series set of “Charlie’s Angels” on Blu-ray Disc for the first time at $169.98. The 1970s detective show stars Kate Jackson, Farrah Fawcett, Jaclyn Smith, Cheryl Ladd, Shelley Hack and Tanya Roberts. The series, about three girls who go to work for Charles Townsend, a mysterious man they never see, at his Beverly Hills detective agency, ran for five seasons. The set includes the 2011 TV reboot starring Rachel Taylor, Anne Ilonzeh and Minka Kelly.

Also due Oct. 29 is the double feature Blu-ray of Little Women and Marie Antoinette at $14.98. Little Women stars Claire Danes, Winona Ryder (“Stranger Things”) and Kirsten Dunst in the class Louisa May Alcott story. Marie Antoinette, directed by Sofia Coppola, stars Dunst as the famously fashionable and villainous queen who purportedly told her starving people, “Let them eat cake.” Dunst portrays the ill-fated child princess who married France’s young and indifferent King Louis XVI (Jason Schwartzman). Feeling isolated in a royal court rife with scandal and intrigue, Marie Antoinette defied both royalty and commoner by living like a rock star, which served only to seal her fate.

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Finally, on Oct. 29, Mill Creek releases the horror thriller The Thing (2011), a prelude to John Carpenter’s 1982 classic film, at $14.98 on Blu-ray. When paleontologist Kate Lloyd (Mary Elizabeth Winstead) travels to an isolated outpost in Antarctica for the expedition of a lifetime, she joins an international team that unearths a remarkable discovery. Their elation quickly turns to fear as they realize that their experiment has freed a mysterious being from its frozen prison. Paranoia spreads like an epidemic as a creature that can mimic anything it touches will pit human against human as it tries to survive.