Review: Batman '66 # 5

Issue 5 brings back second season one-shot villain Dr Somnambula aka The Sandman. The story, by Jeff Parker, is not bad, but not a stand out, either. The art by Ruben Procopio often veers into Mad Magazine territory, as this series occasionally does. Any old timers out there remember the Batman GAF View-Master set, and the artwork in the accompanying booklet?  It would be nice to get some art in that style.  In some panels, the art takes a "new-old-look" Irv Novick look, which I liked. Some nice touches are we learn Aunt Harriet's husband's name was Walt, and there is a shot of Gotham lifted directly from the animated opening credits of the series. The Sandman induced dream sequence takes on a trippy-psychedelic 1960s feel to it. On first reading, I did not catch any connection between this story, and Sandman's last panel cameo with Minerva in issue 2 and it seems doubtful that Minerva in that one panel was really supposed to be Sandman's African-American moll, Aurora, who appears in this issue.

 

The second story brings back the TV version of Batgirl, who takes on the Earth Kitt version of Catwoman. Again, Jeff Parker's script is average. He gives no reason as to why there are two Catwomen in Gotham. There is an elongated fight scene that seems like filler material. The artwork by Colleen Coover is very fluid and good, and has an "Archie"/Dan DeCarlo look to it. However, her take on Chief O'Hara is inexplicably as a youngish, strapping redhead.

Overall, issue 5, while not the best, isn't the worst either. It earns a B-.

movie review: THOR THE DARK WORLD

For some reason, my movie review of THOR is this blog's most viewed entry, even though reviews of other Marvel movies, like CAPTAIN AMERICA , THE AVENGERS , and AMAZING SPIDER-MAN  have significantly lower view counts.  So, it is my responsibility to review THOR THE DARK WORLD. 

Alan Taylor takes over the director's reigns from Kenneth Branagh, and there is a shift in the franchise.  The new movie has more CGI and bigger action, but it loses characterization and fun.  The plot is often convoluted, and deals with evil elves (yes...you read that right- evil elves) who developed a supernatural weapon called the Aether.  This coincides with the nine realms converging, and Jane Foster gets infected with the Aether, which causes the few surviving elves to reclaim the weapon so they can destroy all nine realms.  Thor is forced to seek the help of his imprisoned brother Loki in order to save the worlds. 

The majority of the movie takes place on Asgard, in what seems like an attempt to tap into the Lord of the Rings/Hobbit fan base.  Idris Elba, who became a fan favorite as Heimdall, gets a lot more screen time. One of the things that sets the modern Marvel movies apart from the post-2000 DC movies, is that the Marvel films are infused with humor and fun to balance the action and drama.  But THOR THE DARK WORLD takes a hard left turn into DC territory by nearly reaching a level of Christopher Nolan/Zack Snyder humorless darkness.  Not including a few exceptions, the only humor in this movie is provided by Kat Dennings, and there is a funny cameo by Chris Evans as Captain America. 



Why can't they make Hemsworth wear the helmet?

Instead of the character development of the first movie, this time around we get a generic sci-fi action film. The finale when the elves invade  England is a little too similar to the alien invasion in THE AVENGERS, just on a smaller scale.  Chris Hemsworth, who put a lot of character in as Thor in the first movie and THE AVENGERS, kind of just phones his performance in this time. And Thor still doesn't wear his helmet. I mean, come on... the hammer and the helmet are Thor's two biggest gimmicks.  Why won't they let Thor wear the helmet in the movies?  And there were a few moments in the movie where Thor is seperated from his hammer for a length of time, I was thinking, "wow, this would be a great, dramatic moment to have him transform into Donald Blake".  But, alas, the movies have omitted that aspect of the character. Although I wouldn't label THOR THE DARK WORLD a franchise killer, it is far less enjoyable than its predecessor.

Review: Batman '66 #4

Where as writer Jeff Parker seemed to get everything wrong with issue 3, he makes up for it by getting everything right in issue 4.  In the first story, Batman and Robin have to jet to London to prevent Jervis Tetch, The Mad Hatter, from stealing the crown jewels.  There are nice touches through out the story, like The Beatles on the same plane as Batman and Robin, and both get a fitting welcome.  We see a teenage girl throwing herself at Robin, which seems to be a running gag in this series. We see the British Batmobile, which is very cool (or should I say "gear"?).  As with Parker's script for issue 1, we get some high octane action sequences reminiscent of the 1968 Filmation cartoons.  The art in this story is by Jonathan Case.  It is the same high level as his work on issue 1.

The second story, also written by Parker, features The Clock King who is also in London, as Batman uses his great detective skills to deduce the Mad Hatter had a tech-savvy partner.  It is revealed the Clock King's real name is Morris Tetch, Jervis' brother.  The art on this story is by Sandy Jarrell and is a much better effort than his Egghead story last issue.  Jarrell captures the likenesses of the TV actors better than Case, and there is a moody, noir-ish quality to the art, even if the figures at times lack fluidity.  Not only does this issue redeem the bad taste left by last issue's Joker and Egghead tales, but this issue is also far superior to the lackluster "Londinium" three part episode from the third season.  Issue 3 earns a solid A.

Review: Batman '66 #3

The third issue of Batman '66 brings back the Joker.  In the lead story, writer Jeff Parker continues to mash up generic DC continuity with the continuity of the TV series, but this time around, it has more negative effects.  A different kind of take is used for the Red Hood, which involves Professer Overbeck, a character from the second season Mad Hatter episode (the one with the infamous pink cowl), but now he is the head of Arkham Asylum.  Harley Quinn is introduced, in her pre-crazy form as Dr Quinn (looking a bit like Sandy Duncan).  The Joker is established as insane (as are several other villains residing at Arkham), and is referred to as "Patient J".  On the TV show,  Romero had two different personalities for the Joker. In the first two stories, he was a joking, yet cunning, criminal mastermind, with just a faint hint of insanity (see the end of Batman Is Riled where a captured Joker laughs with a demented look in his eyes.... or He Meets His Match, The Grisly Ghoul where he attempts to murder his own moll, teenage Susie).  But by the third story, Romero's portrayal was reworked to make him more of a childish, brat like character, which it remained for the rest of the series run.  But in Batman '66 #3, we get essentially a generic crazy DC Joker who happens to look like Romero.  I think this is all needless, and seems to undermine the purpose of Batman '66 by making it more of a typical "Johnny DC" version of Batman.  As a result, I did not enjoy this issue as much.  The art, by Joe Quinones, was excellent, and he got Cesar Romero's Joker spot on, even with the hint of a mustache.  The coloring of Batman's costume was unique, as Maris Wicks gave it the purple hue of the TV show.

The shorter second story featuring Egghead, also written by Parker, was, like last issue's short Siren story: too much like a bad third season episode.  The art, by Sandy Jarrell, had a little Mad Magazine parody flavor to it.  Egghead looked nothing like Vincent Price (perhaps due to DC not getting the rights to use his likeness), and at the end we see Warden Crichton (played by David Lewis on the series), who has transformed into a black woman! Holy Political Correctness!  By issue 3, what started out as a great series, has suddenly sunk to a low.  I think DC may need to bring in some new writers rather than rely on Parker to do the entire series. I'd like to see bronze age writers like Steve Englehart, Mike W. Barr, and Gerry Conway, contribute some scripts. They need to stop trying to morph the TV show into standard DC continuity (and let me reiterate, I unquestionably do not want to see Dick Grayson become Nightwing), and need to capture the spirit, the style, and the storytelling of the best first season episodes.  Issue 3 earns a C.

Ben Affleck is the new Batman

Uh, yeah.... right.  I have no comment at this time.  But some other people do.

 

 

 

 

Review: Batman '66 #2

The second issue of this retro series continues the adventure and fun begun in the first issue.  Ty Templeton's art in the issue's first two stories is even better than Jonathan Case's artwork in issue 1.  The only critique is Templeton gives Batman a pot-belly in some panels (Adam West did have a bit of a paunch, but that's something that should be overlooked in the artwork).  The two-parter features a team up of Penguin and Mr Freeze.  A little dilemma here, as George Sanders' portrayal was the definitive version, but Templeton went with the look of Otto Preminger, which seems to mesh better with the current DC.  Thankfully Freeze isn't exclaiming "Wild!" every panel.  In fact it seems writer Jeff Parker is mashing up the TV series continuity with bits and pieces of DC Comics continuity.  All in all, the Penguin-Mr Freeze two-parter was excellent.  The third story features Chandell (played by Liberace in the series' highest rated episodes) and The Siren (third season villain played by Joan Collins).  Neither of the actors' likenesses were used, due to lack of permission.  This story also features Kathy Kane as Bruce's date, and Robin sits this one out. Parker's writing for this one is weaker, and seems more like a third season type mess.  Case is back on art, and while he does a good Siren, his art overall is weaker than Templeton's.  The final panel features one-shot villain The Sandman, and third season disaster Minerva (played by Zsa Zsa Gabor -whose likeness is used by Case- in the series' finale, and one of its weakest episodes)  hinting at a bigger plot line that may stretch over several issues.  This story just wasn't as good, being too close to the type of junk that was aired on the third season.  The creative team needs to stick closer to the first season episodes when crafting this book.  The third story knocks this issue's grade to a B+.

Young Dreams: A Look At Elvis' Movies

I thought I'd give brief thoughts and reviews to Elvis Presley's movies.  There are two Q and A articles by Sheila O'Mally on her blog that goes into great detail about Elvis' worth as an actor and his movies that are must reading.

Love Me Tender (20th Century Fox, 1956) - Elvis' debut was in a well done western about the real life Reno Brothers (just one year earlier, another movie about the Reno Brothers, Rage At Dawn, was released by RKO Pictures).  Elvis' first attempt at acting is a little wooden, but he showed charisma and screen presence. Beautiful Debra Paget was the leading lady, and Elvis sang four songs that were included on an Extended Play 45 RPM soundtrack.  One of three black and white Elvis movies, and one of only three to have Elvis with his natural hair color.
Overall, story: B+, songs: B,  Elvis' performance: B-.



Loving You

Loving You (Paramount-Hal Wallis, 1957) - Elvis' first starring feature was in color and premiered Elvis' jet black dyed hair.  Loosely based on Mary Agnes Thompson's short story A Call For Mitch Miller, this musical drama with some humor showcases the early Elvis concert performances.  Elvis' band, Scotty Moore, Bill Black, and DJ Fontana, and the Jordanaires, have roles in the movie, with Black even getting some dialogue, much to Col. Tom Parker's dismay, as he saw Bill Black's on stage antics as an attempt to upstage Elvis, though Elvis himself never felt that way, and quite enjoyed Black's comedic antics on stage.  The first of two movies to have future nun Delores Hart as leading lady.   Elvis' acting is still a little wooden, but his charisma and screen presence get stronger.  Elvis' parents can be seen in the audience near the end of the film. Elvis is said never to have watched this movie again after his mother died. Monkee connection: it is said a line of dialogue in this movie inspired the name of the Monkees. At one point Deke (Elvis), in a moment of rebellion, says to his over bearing manager, "a monkey in a zoo... that's what you're selling... that's what you want." The soundtrack album contained the film songs on side A, while side B had non-film songs.
Overall, story B+, songs: A+, Elvis' performance: B.



Jailhouse Rock

Jailhouse Rock (MGM, 1957) - Elvis' first MGM movie is perhaps his most popular.  Playing a jerk, Elvis hits his stride in acting, and although a drama, he shows signs of great comedic timing. Jerry Leiber and Mike Stoller were given the task of composing the entire soundtrack, and Stoller appears in the film as the piano player, with Elvis' regular band of Scotty, Bill, and DJ.  While on set, Leiber and Stoller attempted to give career advice to Elvis, encouraging him to sign on to Walk On The Wild Side with director Elia Kazan.  This outraged Col. Parker who banned Leiber and Stoller from Elvis' inner circle.  The "Jailhouse Rock" sequence is considered perhaps the very first "music video" in Rock and Roll history. The second of three films in black and white, and Elvis seems to have curly or wavy hair in this one. The leading lady, Judy Tyler, tragically died in a car accident before the film was released.  Out of respect for her, Elvis did not go to the movie's premier, and is said never to have watched the completed movie in its entirety.  Mickey Shaughnesay, who played Elvis' cellmate Hunk, prior to being cast in the film, was said to have stinging criticisms of Elvis in his night club act.  The film had six songs, five of which were on an Extended Play 45 RPM soundtrack. 
Overall, story: A, songs: A+, Elvis' performance: A+.

King Creole with Walter Mathau and Vic Morrow

King Creole (Paramount-Hal Wallis, 1958) - This was Elvis' cinematic masterpiece. Directed by Michael Curtiz, who directed Angels With Dirty Faces, Casablanca, and many others, and featuring a top notch cast including Walter Matthau, Carolyn Jones, Delores Hart, Dean Jagger and Vic Morrow. This film, based on the Harold Robbins novel A Stone For Danny Fisher, was originally slated to star James Dean.  When Elvis stepped in after Dean's death, the story was reworked for the main character being a singer instead of a boxer.  Elvis, under Cutiz's direction, hits a home run. The first movie to have a full soundtrack album.  Originally slated to be in color, Curtiz made the artistic decision to film in black and white for a gritty, moody look.  Scotty, Bill, and DJ, and the Jordanaires can be seen as members of the band at the King Creole Club.
Overall, story: A+, songs: A,  Elvis' performance: A+.

G.I. Blues (Paramount-Hal Wallis, 1960) - Elvis' first movie after the army, and his first to be directed by Norman Taurog (who would ultimately direct nine Elvis movies). This is also his funniest Paramount movie.  Elvis has great comedic timing in this one, and even gets close to doing some slapstick.  A lot is said about Elvis' acting talent being wasted and how he could have been a great actor, but I think his real calling may have been comedy.  Juliet Prowse is the leading lady. Scotty and DJ make their final on screen appearance in an Elvis film, as musicians in a German club (Bill Black left Elvis by this time).
Overall, story: B, songs: B+, Elvis' performance: A.

Flaming Star (20th Century Fox, 1960) -  Decent western of a half-breed torn in an Indian-white man war, based on Clair Huffaker's novel Flaming Lance.  Marlon Brando was originally slated to star. Leading lady is Barbara Eden. Elvis only sings two songs early in the film.
Overall, story: B, songs: title song gets a B, Cane And A High Starched Collar gets a C, Elvis' performance: B+.

Wild In The Country (20th Century Fox, 1961) -  screenplay by Clifford Odets based on J.R. Salamanca's novel The Lost Country (later renamed Wild In The Country after the movie's release).  A fitting follow up to King Creole has Elvis easily handling a dramatic role of a troubled youth, and has great chemistry with leading lady Tuesday Weld. Batman connection: Alan Napier plays a college dean.
Overall, story: B, songs: B, Elvis' performance: B+.

Blue Hawaii (Paramount-Hal Wallis, 1961) - loose remake of Wallis' Bing Crosby movie Waikiki Wedding.  A fun and enjoyable lightweight film with lots of scenic shots. The light script takes a dark turn when teenage Elle attempts suicide. Perhaps Elvis' biggest hit at the box office, compared to the lesser success of  Flaming Star and Wild In The Country, which cemented his fate with formula pictures.
Overall, story: C+, songs: B-, Elvis' performance: A-.



Follow That Dream

Follow That Dream (United Artists, 1962) - based on Richard P. Powell's novel Pioneer Go Home! this was Elvis' funniest comedy.  Directed by Gordon Douglas, who directed many Our Gang Comedies in the mid to late 1930s. Second of three movies where Elvis has his natural hair color.
Overall, story: A, songs: B+, Elvis' performance: A+.

Kid Galahad  (United Artists, 1962) - based on the Frances Wallace novel and a remake of a 1937 movie of the same name, starring Edward G Robinson, Bette Davis, and Humphrey Bogart, and directed by Michael Curtiz.  Elvis lobbied for Curtiz to direct the remake, but Phil Karlson was tapped.  Features Charles Bronsan.  Third of three movies where Elvis has his natural hair color. Batman connection: David Lewis has a small role.
Overall, story: B+, songs: B+, Elvis' performance: B+.

Girls! Girls! Girls! (Paramount-Hal Wallis, 1962) - the first of what could be called the "Elvis formula" movie.  Elvis is back to dyed black hair, and the first of two movies where his hair is literally shellacked.  Elvis lost weight and is very thin in this movie.  Filmed on location in Hawaii.
Overall, story: C, songs: Girls! Girls! Girls! and Return To Sender get a B+, while the rest of the soundtrack gets a C, Elvis' performance: B-.

It Happened At The World's Fair (MGM, 1963) Elvis' first MGM movie since Jailhouse Rock seems to be an effort to imitate the Hal Wallis-Paramount formula rather than following up their own punk classic. Never the less, actually an enjoyable film. Kurt Russell, who would play Elvis in the Dick Clark produced/John Carpenter directed TV bio-movie, has a small role.  Vickie Tiu who plays little Sue Lin, nearly steals the movie, and her scenes with Elvis are very sweet. Elvis looks good in his tailored suits and is very thin.  Second of two movies with his hair shellacked. Batman connection: first of two movies with Yvonne Craig, and ironically, Olan Soule (who was the voice of Batman in cartoons from 1968 thru 1986) plays her father.  Soule also did an episode of The Monkees.
Overall, story: C+, songs: B-, Elvis' performance: B.

Fun In Acapulco (Paramount-Hal Wallis, 1963) A decent script, with Elvis' character given some emotional heft, but the songs are very weak.
Overall, story: B, songs: Bossa Nova Baby gets a B, the rest C-, Elvis' performance: B+.

Kissin' Cousins (MGM, 1963) - An average movie. Elvis plays two roles, and one can only wonder if Col. Tom Parker negotiated two paychecks for Elvis.  The movie has some funny moments and a few good sight gags.  The plot is okay, the songs are average.  The directing and editing are sloppy when both Jodie and Josh are on screen together, there is little effort to hide the fact one of them is Elvis' stand-in.  The final musical number is likewise marred by bad jump cuts. Ironically, it also has two different songs titled "Kissin' Cousins".  This is the second and last Elvis film to feature future Batgirl Yvonne Craig. MGM and NBC attempted to spin this movie into a TV series, with Edd "Kookie" Byrnes in Elvis' role, but only a pilot episode was filmed.
Overall, story: C+, songs: Kissing Cousins and Smokey Mountain Boy get a B, the rest a C, Elvis' performance: B-.

Viva Las Vegas (MGM, 1964) - One of the better formula movies with a very good soundtrack.  Elvis is a race car driver who gets involved with a swimming instructor played by Ann Margaret. The two have great on screen chemistry. Features William Demarest (Uncle Charlie on My Three Sons).
Overall, story: B, songs: A-, Elvis' performance: A.

Roustabout (Paramount-Hal Wallis, 1964) - A more serious movie, with Elvis, as in Jailhouse Rock, playing an angry jerk who has to take a job at a carnival when his motorcycle is wrecked. Co-stars Barbara Stanwyck.  Monkee connection: Richard Kiel.
Overall, story: B, songs: B-, Elvis' performance: B+.




Girl Happy first of 3 movies with Shelley Fabares

Girl Happy (MGM, 1965) - Despite the unacceptable tampering of a couple of the songs being sped up (the title tune- which if you listen to the recording session, in between takes, Elvis keeps saying the tempo should be faster - and Wolf Call), this is actually a fun movie.  Probably inspired by the success of the Beatles, Elvis is cast as member of a rock group quartet (Bing's son Gary Crosby, Jimmy Hawkins,  and Joby Baker), and they romp around Ft Lauderdale Florida during spring break in a pre-Monkees kind of way.  The first of three movies with Shelley Fabares (and said to be Elvis' favorite leading lady). The Spring Fever sequence is a precursor to the Summer Nights sequence from Grease. 
Overall, story: B+, songs: B (despite the sped up tampering), Elvis' performance: B+. 



Tickle Me with Jocelyn Lane

Tickle Me (Allied Artists, 1965) - This was a very good movie, with some good comedy.  The script was written by Three Stooges and Bowery Boys alumni Edward Bernds and Elwood Ullman, and you can pick out many Stooges gags in the film.  Elvis shows some very good comedic timing. In some ways, this movie is almost like an episode of The Monkees with some surreal humor and an Old West fantasy romp.  Unlike all other Elvis movies, no songs were written for this film, but rather excellent tracks from prior non-soundtrack albums were used.  Unfortunately, string and horn overdubs were added to the mix. Director Norman Taurog did a great job, but one can't help but wonder how Monkees director James Frawley would have handled it. Leading lady Jocelyn Lane is perhaps the most stunning of all Elvis movies.
Overall, story: B,  songs: A-,  Elvis' performance: A.

Harum Scarum (MGM, 1965) - I avoided watching this movie for many years, as it has a reputation of being the worst movie Elvis ever made. But when I finally did see it, I didn't think it was quite that bad. The title makes you believe the movie is a silly comedy, but on the contrary, it is actually the closest thing to an action film Elvis ever made. It has a rather dark plot.  Elvis plays Johnny Tyrone, a Hollywood actor who gets kidnapped by middle eastern rebels who intend on forcing him to kill a king.  The So Close Yet So Far  scene is filmed in a unique and atmospheric way. 
Overall, story: C, songs: Hey Little Girl and So Close Yet So Far get a B+, the rest C-,  Elvis' performance: B-.

Frankie And Johnny (United Artists, 1966) - Very enjoyable movie based on the classic blues tune, co-starring Donna Douglas (Beverly Hillbillies) and Harry Morgan (Dragnet and M*A*S*H ). Batman connection, Nancy Kovack. 
Overall, plot: B+, songs: B, Elvis' performance: A-.

Paradise Hawaiian Style (Paramount-Hal Wallis, 1966) - Elvis is a little overweight in this one. OK plot, awful songs. Much of the movie was filmed on Hollywood soundstages, which is why many scenes look more like Gilligan's Island rather than Blue Hawaii.
Overall, plot: C, songs: Datin'  and A Dog's Life get a C+, the rest a D,  Elvis' performance: C.



Easy Come Easy Go

Spinout (MGM, 1966) - For the second time, Elvis is cast as a member of a rock group quartet, once again with Jimmy Hawkins as one of the members. Shelley Fabares is also back from Girl Happy in her second Elvis movie. In addition to echoing Girl Happy, this one also reprises the race car concept from Viva Las Vegas. The songs are slightly stronger than Girl Happy due to no tampering with the speed, but the plot is weaker.  If the producers would have brought Gary Crosby back, and made it a full fledged Girl Happy sequel, it might have fared better.  Even so, still a fun and enjoyable film. 
Overall, story: B-, songs: B, Elvis' performance: B.

Easy Come Easy Go (Paramount-Hal Wallis, 1967) - Elvis is a scuba diving treasure hunter. Elvis' final movie for Paramount-Wallis.  It also has the fewest songs of any of the Wallis films, getting an Extended Play 45RPM soundtrack.  Features Pat Harrington Jr. Batman connection: the hot rod in the movie would become the Joker-mobile.
Overall, story: C, songs: C, Elvis' performance: B-.

Double Trouble (MGM, 1967) - Average movie where Elvis gets involved with a British teenage heiress.  Set in Europe, but filmed in Hollywood. Originally, The Three Stooges were going to appear in the movie, but scheduling conflicts resulted in them dropping out and being replaced by The Weire Brothers. Monkees connection: Monty Landis and Chips Rafferty.
Overall, plot: C, songs: Long Legged Girl gets an A, the rest B-, Elvis' performance: B-.

Clambake

Clambake (United Artists, 1967) - Third movie with Shelley Fabares, and the first with Bill Bixby. Good script based on the Prince and the Pauper story.  Monkee connection: Jack Good. 
Overall, plot: B, songs: B-, Elvis' performance: B.

Stay Away Joe (MGM, 1968) - Comedy with a lot of sight gags, based on the Dan Cushman novel of the same name. First movie to break the Elvis formula.  Batman connection: Burgess Meredith. 
Overall, plot: B-, songs: B-,  Elvis' performance: A-.

Speedway (MGM, 1968) - Another Viva Las Vegas style race car film, this time with Nancy Sinatra and Bill Bixby.  Monkee connection: Carl Ballantine.
Overall, plot: C, songs: Let Yourself Go gets an A, Your Time Hasn't Come Yet Baby and Your Groovy Self  get a B, the rest C,  Elvis' performance: B.

Live A Little Love A Little with Elvis' Great Dane Brutus as Albert

Live A Little Love A Little (MGM, 1968) - Funny comedy based on Dan Greenburg's novel Kiss My Firm But Pliant Lips, with Elvis, hilarious as a cranky grouch, doing great deadpan deliveries.  Albert the Great Dane was really Elvis' dog Brutus.  I wonder if Col Parker got him a bigger paycheck than Darren #2 Dick Sargent?  You know Elvis is having fun when he breaks into his old 1950s dance moves (as he also did in Spinout).  Leading lady: Michelle Carey. Director Norman Taurog's final movie.
Overall, plot: A-, songs: B-, Elvis' performance: A+.

Charro! (National General, 1969) - Elvis' third western, and only non-singing role, although he does perform the theme song over the opening credits.  Based on Harry Wittington's novel, which was published after the movie's release. Features Victor French (Little House On The Prairie).
Overall, plot: C, song: C+, Elvis' performance: B-.

The Trouble With Girls (MGM, 1969) - based on the novel Chautauqua by Day Keene and Dwight Babcock.  In development for nearly a decade, and originally slated to star Dick Van Dyke. Features future star Dabney Colman, John Carradine, Joyce Van Patten, and Family Affair's Anyssa Jones, with Susan Olsen (The Brady Bunch) in an uncredited cameo.  Batman connection: Vincent Price.
Overall, plot: C, songs: B, Elvis' performance: B+.


Change Of Habit

Change Of Habit (Universal, 1969) - Produced by Joe Connelly (who was Catholic) and Bob Mosher, the team that created Leave It To Beaver and The Munsters, Elvis' final acting performance is superb. Intentional or not, this movie gives us a glimpse of the chaotic years following the Second Vatican Council, when the Church seemingly lost her way, jettisoning all things spiritual and mystical while becoming utterly fixated on social justice.  This is underscored by Sister Barbara (Jane Elliot) who quits being a nun, feeling the Church is too restrictive, to become a full time social worker. Originally, this film was slated to be a starring vehicle for Mary Tyler Moore, and to air as a TV movie.  Once Elvis signed on, he got top billing, and the movie went into theatrical release (although it did air as a TV movie in some European countries).
Overall, plot, B+, songs, B-, Elvis' performance: A.

That's The Way It Is (MGM, 1970) - Great concert film/documentary that showcases Elvis' Vegas show.  The "special edition" version is even better than the documentary heavy original theatrical version.

Elvis On Tour (MGM, 1972) - A slightly inferior sequel to That's The Way It Is that follows Elvis on a breakneck tour.