Elvis has not left the building.

You can see him in movie theaters now, larger than life, just as he was in real life.

It’s “EPIC: Elvis Presley In Concert.”

It’s all Elvis, in his own words, in his own rehearsals, and on the stage in his own concerts in restored footage and rediscovered interviews. “Viva Las Vegas.”

“EPIC: Elvis Presley In Concert” is meticulously curated and directed by Baz Luhrmann (Oscar nominee, picture, “Elvis,” 2022, which he directed; Oscar nominee, picture, “Moulin Rouge!,” 2001, which he directed.)

Luhrmann is said to have discovered and restored some 68 boxes of “lost” 35mm and 8mm concert footage of Elvis and 45 minutes of recording tape of Elvis talking candidly about his career and life.

The movie does not depict the so-called “fat Elvis.” This is not the glum, snarly Billy Idol version of Elvis. This is a smiling, happy, exuberant in-the-moment Elvis. Reaching for a glass of water to sooth his raspy voice during a concert, Elvis quips, “I have Bob Dylan in my throat.”

“Elvis has left the building” is the well-known phrase, now a catch phrase, that Al Dvorin would announce on the public address system (attributed to Horace Logan in 1956 at the “Louisiana Hayride”) to let the audience know that Elvis was not doing an encore because he had departed the building, concert hall, arena or casino show room, and they may as well, too.

Elvis (Jan. 8, 1935 - Aug. 16, 1977) is so alive in “EPIC.” You feel as though you have not only attended the world’s best Elvis concert, but gained insight into his personality.

The film incorporates footage from the concert films, “Elvis: That’s the Way It Is” (1970) and “Elvis on Tour” (1972), and when Elvis was beginning his residency at the International Hotel in Las Vegas in 1969. Elvis looks trim, fit and slim in his white jump suit, his red jumpsuit and his powder-blue jumpsuit with a cape.

The film has dizzying visuals, in spectacular kaleidoscopes of color, delivered and edited in a headlong rush by Jonathan Redmond (Oscar nominee, editing, “Elvis”), often to the beat of Elvis songs: Elvis behind the wheel of race cars in his movies; Elvis as a raw recruit in the Army, stationed in Germany, carrying a rucksack; Elvis on TV, from the waist-up, backed by the Jordanaires, singing and swaying on “The Ed Sullivan Show”; Elvis sweating profusely as he karate chops, windmills and shakes, almost as if in some religious dervish on the concert stage.

The King of Rock ‘n’ Roll is propelled by the speed-drumming of Ron Tutt, the minimalist throbbing bass of Jerry Scheff and zingy guitar solos of James Burton. Backing singers included gospel music legends, The Imperials, JD Summer and The Stamps and The Sweet Inspirations.

Elvis “shook it like a chorus girl,” as Gillian Welch sang in the song she and David Rawlings wrote, “Elvis Presley Blues” (2001). After all, Elvis’s single, “All Shook Up,” composed by Otis Blackwell, topped U.S. Billboard Charts in 1957.

Many of Elvis’s hits are heard and seen in the film, including remastered and remixed versions of “In the Ghetto,” “Suspicious Minds,” “Can’t Help Falling in Love,” “Hound Dog” and “Burning Love.” The film’s 27-track album, released Feb. 20, is reaching the uppermost reaches of the charts.

There are snippets of songs by The Beatles (“Get Back,” “Yesterday,” “Something”), Bob Dylan (“I Shall Be Released”) and Simon and Garfunkel (“Bridge Over Troubled Water”) sung by Elvis.

In the film, Elvis often jokes around with the lyrics of his own songs, adding double entendres and silly references. Not so much with the gospel songs. When he sings, “How Great Thou Art,” you feel a heart-to-heart connection not only with the singer but with the man.

“American David,” a poem written and read by Bono of rock band U2 concludes the major portion of the film.

In a sense, Elvis was conflicted as was the Biblical David of Old Testament lore, with one foot on the world stage, one eye on Bathsheba and his head in the clouds of God.

The curtain comes down. Elvis peaks from behind the curtain. The doors close. Elvis has left the building.

You can see him again, and again, in this concert film.

Elvis always wanted to appear in better films. He finally has. And it’s “EPIC.” It’s one of the great concert documentary films.

It’s a must-see if you are an Elvis fan. And if you are not a fan, this film may make you an Elvis fan. Don’t miss it.

“EPIC: Elvis Presley In Concert,” PG-13 (Parents strongly cautioned: Some material may be inappropriate for children under 13) for smoking and some language; Genre: Documentary, Music: Run time: 1 hour, 36 minutes. Distributed by Neon.

Credit Readers Anonymous: Glittery Elvis belts and jumpsuit designs frame the end credits of “EPIC: Elvis Presley In Concert.”

At The Movies: “EPIC: Elvis Presley in Concert” was seen in IMAX at AMC, AMC Center Valley 16.

Theatrical Movies Domestic Weekend Box Office, March 6- 8: “Hoppers,” the Pixar Animation Studios film for Walt Disney Pictures, opened at No. 1 with $45.3 million in 4,000 theaters.

“Scream 7” dropped one place from its one week at No. 1, with $17 million in 3,540 theaters, $93 million, two weeks.

“The Bride!,” with Maggie Gyllenhaal directing Jessie Buckley, Jake Gyllenhaal, Christian Bale, Annette Bening, Penélope Cruz, Peter Sarsgaard and Julianne Hough in the Horror film remake of director James Whale’s “Bride of Frankenstein” (1935), based on Mary Shelley’s 1818 novel, opened at No. 3 with $7 million in 3,304 theaters.

4. “GOAT” dropped two places, $6.4 million in 3,303 theaters, $83.6 million, four weeks. 5. “Wuthering Heights” dropped two places, $3.7 million in 2,512 theaters, $78.7 million, four weeks. 6. “Crime 101” stayed in place, $2 million in 1,910 theaters, $33.6 million, four weeks. 7. “EPIC: Elvis Presley in Concert” dropped two places, $1.5 million in 1.965 theaters, $10.9 million, three weeks. 8. “Send Help” stayed in place, $1.5 million in 1,650 theaters, $62.6 million, six weeks. 9. “I Can Only Imagine 2” dropped two places, $1.5 million in 1,834 theaters, $16.1 million, three weeks. 10. “Demon Slayer: Kimetsu No Yaiba Infinity Castle,” $1.3 million in 853 theaters, $135.8 million, 26 weeks.

Movie box office information from Box Office Mojo as of March 8 is subject to change.

Unreel, March 13:

“Reminders of Him,” MPA Rated PG-13; 1 hour, 54 minutes. Vanessa Caswell directs Maika Monroe, Jennifer Robertson, Bradley Whitford, Tyriq Withers, Nicholas Duvernay and Lauren Graham in the Romance Drama. A woman tries to reconnect with her daughter. The movie is based on the 2022 novel by Colleen Hoover (“The Housemaid,” “Regretting You,” “It Ends With Us”).

“The Gates,” MPA rated R: John Burr directs Mason Gooding, Algee Smith, Keith Powers and James Van Der Beek in the Thriller. Three friends witness a murder that they are accused of. This is said to be the final completed film role of James Van Der Beek, who died Feb. 11.

“Saipan,” No MPA rating; 1 hour. 31 minutes. Lisa Barros D’Sa and Glenn Leyburn direct Éanna Hardwicke, Steve Coogan, Peter McDonald and Alice Lowe in the Biography Dark Comedy. On the eve of the 2002 FIFA World Cup, the Irish team captain forfeits his place after an argument with the manager.

“Scared to Death,” MPA rating; 1 hour 38 minutes. Paul Boyd directs Lin Shaye, Bill Moseley, Jade Chynoweth, Olivier Paris and Rae Dawn Chong in the Comedy Horror film. A young film-maker attends a seance in a haunted children’s shelter.

Movie opening dates from Internet Movie Database as of March 8 may be subject to change.

Five Popcorn Boxes out of Five Popcorn Boxes