Tacky, tasteless and totally ‘Graceland’

The over-the-top violence misfires in 3,000 Miles to Graceland, and so do the unlikeable characters.

By PHILIP BOOTH

© St. Petersburg Times, published February 23, 2001

Elvis is everywhere, as twisted roots-rocker Mojo Nixon reminded the world in song back in 1987. And here comes the King again, or at least several imaginative approximations, which tend to cloud memories of the real thing: A quintet of Elvis Presley impersonators, decked out in rhinestone-studded jumpsuits in shades of black, white, red, blue and yellow, are at the center of 3,000 Miles to Graceland, a grim, disturbing little thriller starring Kurt Russell and Kevin Costner.

It's difficult not to chuckle over recent images of Presley in pop culture, from the parachuting Elvises in the romantic comedy Honeymoon in Vegas to the Elvis impersonators in Kinky Friedman's novel Elvis, Jesus and Coca-Cola to the murderous Elvis look-alike in Ace Atkins' mystery Crossroad Blues. Quirkiness, too, reigns supreme at the beginning of 3,000 Miles to Graceland, as we're introduced to cool, tough ex-con Michael (Russell), his amoral ex-partner Murphy (Costner) and their associates, all sporting sideburns, shades and swaggers. Gus (David Arquette) is the irrepressible class clown, Hanson (Christian Slater) is quiet but seething, and Franklin (Bokeem Woodbine), the sole African-American of the group, is trigger-happy.

That offbeat feel, owing a thing or two to Quentin Tarantino, is bolstered by frequent shots of sundry Elvis imitators crooning and cavorting on stage with glittery showgirls. Demian Lichtenstein, director of 1997's low-budget indie Lowball and a variety of rock, rap and dancehall videos, employs split screens early on, lending the movie a temporary retro buzz, and generously allows Russell to channel the spirit of Elvis on several occasions. Russell, first glimpsed rocketing through the desert in a cherry-red 1959 Cadillac convertible, is funny at that shtick, thanks in part to the experience he gained as the title character in 1979's made-for-television Elvis.

Lichtenstein, despite his best efforts, has a terrible time balancing the comic elements of Graceland with the film's relentless carnage. Michael's coupling with sexy grifter Cybil (Courteney Cox Arquette), at the roadside Last Chance inn, has a sweet spark to it. Shortly thereafter, the King's men, carrying guitar cases filled with weapons, strut through the casino of the Riviera hotel, walk to the business office and bag $3.2-million in cash.

On their way out, they take time to mow down a veritable army of security guards, nailing one unfortunate casino honcho with a third eye, delivered close-up. It's a graphically violent symphony of destruction, with mirrors, chandeliers and glass walls shattering as bullets rain down, seemingly without end. Think John Woo, without the balletic grace. The body count, here and in a scene at the film's conclusion, is anybody's guess.

Meanwhile, the Riviera's stage show, celebrating International Elvis Week, continues without interruption, and one determined old woman cashes in at a slot machine.

Costner, surprisingly, shifts out of heroic mode successfully enough to leave a lasting impression as Murphy, a lost soul who once vandalized the gates of Graceland, claiming to be a son of Presley. "Try to think of us as the Osmonds, only we don't get along," he tells his fellow robbers, demonstrating the wry sense of humor that's typically followed by a deadly punch line. Murphy makes for a fearsome adversary, variously sparring with Michael, Cybil and her mischievous son Jesse James (David Kaye) on a road trip intended to terminate with the successful laundering of the marked cash.

Graceland soon becomes wearying, as one round of human carnage and pyrotechnics follows another, and none of the characters emerge as remotely likable. Kevin Pollak is mildly amusing as a lawman hot on the trail of the gang, but Jon Lovitz seems unsure about what to do with his role as a crooked businessman. Lichtenstein, unfortunately, is a talent crippled by tone deafness. His latest piece, a film noir wanna-be, is marked by stylistic dissonance, noise for the sake of noise and a false resolution. The movie's tastelessness extends to placing a child in danger and suggesting a sexual liaison between Murphy and a bubblegum-chewing teenager. Given the story line's potential, it's a real disappointment.

REVIEW

3,000 Miles to Graceland

Grade: C

Director: Demian Lichtenstein

Cast: Kevin Costner, Kurt Russell, David Arquette, Christian Slater, Courteney Cox Arquette, Kevin Pollak, Jon Lovitz, Howie Long

Screenplay: Demian Lichtenstein, Richard Recco

Rating: R; graphic violence, sexual situations, profanity

Running time: 110 minutes

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