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3000 Miles To Graceland

2001, Movie, R, 0 mins

3000 Miles To Graceland: Review

3000 MILES TO GRACELAND
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You don't need a resume to know director Demian Lichtenstein comes from music video: The rapid-fire cuts, time-lapse photography, solarization, accelerated motion, computer animation and other tricks of the eye candy trade give him away. There's a convention of Elvis impersonators in Vegas, and six crooks have a plan. Five of them — ringleader Murph (Kevin Costner), Michael (Kurt Russell), Hanson (Christian Slater), Gus (David Arquette) and Franklin (Bokeem Woodbine) — will rob a casino disguised as Elvises. The sixth, helicopter pilot Jack (Howie Long), will pluck them from the roof and fly them to safety. The plan almost immediately degenerates into a hellish bloodbath, and in its aftermath the thieves promptly fall out among themselves over the take. The conflict quickly comes down to Murph and Michael, who share both a history and a bond with Elvis that might go beyond mere fandom, though nothing is made of the tantalizing hint that they might both be the King's illegitimate offspring. Michael takes possession of the money first and high-tails it to Idaho, to meet a money launderer. But he's saddled with single mom Cybil (Courtney Cox) and her youngster Jesse (David Kaye), whose need for a father figure expresses itself in thieving, scheming and general obnoxiousness, while Murph, a lean, mean vengeance machine, is flying solo. This coarse, nearly incoherent action picture apparently aspires to a PULP FICTION-like mixture of brutality and self-referential insouciance, but it's heartless, witless and long, a testosterone-fueled shoot 'em up with room for only two kinds of women: dumb whores and mercenary whores, all filmed with leering attention to their breasts and buttocks. A subplot involving two FBI agents (Kevin Pollak, Thomas Hayden Church) is so poorly integrated into the rest of the action that it seems to be part of another movie, and the smirking dialogue plays especially poorly in juxtaposition with the excessive violence. leave a comment --Maitland McDonagh
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