“I don’t know what the hell you’re doing with this movie,” the head of the road crew says to director Eugene Jarecki midway through The King. The expensive stunt prop for Jarecki’s meandering, celebrity-studded documentary about Elvis Presley—a 1963 Rolls-Royce that once belonged to the King—has just broken down, and as a tow truck carries the immobilized Rolls, the crew member helps Jarecki work out an effective thesis for his directionless film.