remarked that Elvis On Tour cast Presley "in a role that truly only he can play. Elvis is himself." Reed considered the documentary "worthwhile", noting its "excellent close-up, split screen photography". The St. Louis Post-Dispatch said Presley's fans would enjoy the film but that others would "enjoy the handsome production for a while", but that they would be then deterred by "the repetitious visuals and hope that the tour comes to an end". The reviewer praised Zemke's work editing the film, but he felt that the use of the split screens "becomes too much". The newspaper noted Presley's offstage presence marked by "warmth and grace" and that the performances onstage were "excellent". The piece criticized the scenes that showed Presley between shows and the segment filmed at Graceland. International critical reception In Canada, The Gazette hailed Elvis On Tour, for showing Presley's "power and glory". Reviewer Dane Lanken felt that while the cinéma vérité camera work was "extreme" the performance of Presley "comes through". Lanken attributed Presley's success to his voice. The review praised the musicians and backup singers, but noted that the documentary did not offer personal details of Presley nor of his manager. Meanwhile, the Windsor Star considered Parker "an old foxy carnival barker" who "pulled another fast one". The newspaper deemed it an advertisement and the reviewer felt that it was the same film as Elvis: That's The Way It Is. He called both films "pseudo-documentaries" that did not show Presley off-stage and instead focused on his show. The reviewer welcomed Presley's performance of Gospel numbers, but lamented the singer's large entourage and choice of attire. It concluded that Presley and Parker's talent could "be seen in ultra extravagance" on the film. For The StarPhoenix it was a "visual treat" that it compared to a television special. The review praised the work by the backup singers and Presley as he "cling(s) to the gospel songs in a reassuring manner". The Richmond Review perceived Elvis On Tour as "another quicknik vehicle" for "keeping" Presley's "face in front of his North American audience". The review delivered a negative reception of the use of split screens as "annoyingly amateurish" and determined that the film's target audience was Presley's fanatics. In England, The Guardian concluded there was a "good use of the split screen", there were "plenty of numbers for the fans" but said that Presley's "mystique remains unexplored". The Evening