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Tag Archives: Barry Keoghan
QUIET in the BACK!: “Here Comes the Year-End Cinema Bounty”
. > Every year around this time, I compile a list of upcoming year-end film releases that I am looking forward to. Despite the various labor strikes and the strangulating effects of the evolving marketplace, the New York Times helped … Continue reading →
Posted in QUIET in the BACK!
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Tagged A.I., Aardman Studios, action, Adam Driver, Alexander Payne, American Fiction, Amsterdam, Anatomy of a Fall, animation, Another Body, Aquaman and the Lost Kingdom, Argentine cinema, artificial intelligence, Barry Keoghan, Bayard Rustin, biography, biopics, Bradley Cooper, Chicken Run: Dawn of the Nugget, comedy, courtroom drama, deep-fake porn, Dicks: The Musical, documentaries, drama, Dream Scenario, El Juicio, Emma Stone, Enzo Ferrari, Fallen Leaves, fantasy, Ferrari, Finnish cinema, Flora and Son, Four Daughters, French cinema, Hayao Miyazaki, Hite Report, Islamic fundamentalism, Jeffrey Wright, Joan Baez: I Am A Noise, Joaquin Phoenix, John Carney, Joseph Gordon-Levitt, Julienne Moore, Killers of the Flower Moon, Leonard Bernstein, Maestro, Martin Scorsese, May December, Michael Fassbender, Michael Mann, musicals, My Love Affair With Marriage, Napoleon, Natalie Portman, Nathan Lane, Next Goal Wins, Nicholas Cage, Occupied City, Paul Giamatti, Poor Things, Priscilla, racial satire, Ridley Scott, Rustin, Saltburn, sci-fi, science fiction, sequels, soccer, Sofia Coppola, sports, Steve McQueen, Studio Ghibli, superheroes, Taika Waititi, The Boy & The Heron, The Creator, The Disappearance of Shere Hite, The Holdovers, The Trial, The Zone of Interest, Todd Haynes, Tunisian cinema, World War II, Yorgos Lanthimos
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KPK on the CINEMA (129): “The Films of November 2022”
. > Still writing furiously in November of 2022, so I only treated myself to a film every 3 days or so. I did manage to see two absolutely terrific films though. Read on to see which films they were… (All … Continue reading →
Posted in KPK on the CINEMA
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Tagged Adrien Brody, aliens, animation, artists, arts, Asian Americans, B-movies, Barry Keoghan, Bela Lugosi, biography, Brendan Gleeson, Brett Morgan, camp, Carl Reiner, celebrity, cinema, Colin Farrell, Colin Powell, comedy, coming of age, crime, criticism, culture, David Bowie, David Oyelowo, Disney, documentaries, Douglas Sirk, drama, dramas, Drive My Car, Ed Wood, Elliott Gould, emotional maturity, entertainment, family, films, friendship, grief, growing up, healing, history, hormones, horror, Ida Lupino, ideas, Imitation of Life, Irish cinema, Japanese cinema, John Gavin, Kerry Condon, Kevin Keelan, KPK, KPKeelan, KPKworld, Lana Turner, life, loss, love, marriage, Mel Brooks, memories, mental illness, Moonage Daydream, movies, murder, music, mystery, New York, Nicholas Ray, noir, nostalgia, On Dangerous Ground, opinion, philosophy, Pixar, Plan 9 From Outer Space, race, redemption, regret, relationships, remakes, restaurants, reviews, Robert Ryan, rock and roll, rock stars, rural Ireland, Ruth Bader Ginsburg, Ryusuke Hamaguchi, Sam Rockwell, San Fernando Valley, Sandra Dee, Saoirse Ronan, satire, sci-fi, science fiction, See How They Run, The Automat, The Banshees of Inisherin, tragedy, trauma, Turning Red, Vampira, whodunnit, women
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FLIX PIX (1014): “Colin Farrell and Brendan Gleeson Shine in Martin McDonagh’s THE BANSHEES OF INISHERIN”
. THE BANSHEES OF INISHERIN (directed by Martin McDonagh, 2022) ****+ (out of 5) . > Martin McDonagh scores again, gifting us with another near-perfect film. He and his gifted brother John Michael (THE GUARD, CALVARY), just may be Ireland’s greatest … Continue reading →
Posted in Flix Pix
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Tagged Academy Awards, arts, Barry Keoghan, Brendan Gleeson, cinema, Colin Farrell, criticism, drama, entertainment, films, Flix Pix, friendship, humor, ideas, Ireland, Irish cinema, Kerry Condon, Kevin Keelan, KPK, KPKeelan, KPKworld, Martin McDonagh, mental illness, metaphor, movies, opinion, reviews, rural Ireland, The Banshees of Inisherin, tragedy, trauma, violence
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KPK on the CINEMA (120): The Films of February 2022″
. > February is here, and before the end of the month: the Oscar nominations. This year, I on on it, baby! The quest to see all the previous year’s most celebrated films is on. Titles in PURPLE have been … Continue reading →
Posted in KPK on the CINEMA
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Tagged 101 Dalmatians, A.I., About Endlessness, action, adventure, Afghanistan, aging, Alex Trebek, Alicia Vikander, Alzheimer’s, ambition, America America, animation, artificial intelligence, arts, Barry Keoghan, Bigbug, biographies, Bradley Cooper, carnies, Cate Blanchett, Channing Tatum, child abuse, cinema, classics, Columbian refugees, comedies, comedy, coming of age, con artists, crime, criminals, criticism, Cruella, Daniel Brühl, Danish cinema, David Gordon Green, David Lowery, David Strathairn, death, Dev Patel, diaspora, Dick Johnson is Dead, Disney, Disney animation, documentaries, drama, Dwayne Johnson, dying, dystopia, Elia Kazan, emigration, Emma Stone, Emma Thompson, Encanto, England, entertainment, espionage, families, family, fantasy, fascism, fashion, fate, film noir, films, Flee, fraud, Free Guy, French cinema, Gael García Bernal, Greece, Greek emigration, grief, grifters, Grigori Rasputin, Guillermo Del Toro, hope, human life, human rights, human trafficking, Humphrey Bogart, ideas, immigrants, Jack Farthing, Jean-Pierre Jeunet, Jodie Comer, Joe, Joel Edgerton, John Huston The Green Knight, Jonas Poher Rasmussen, Kaiser Wilhelm, karma, Kevin Keelan, King George, KPK, KPKeelan, KPKworld, Kristen Stewart, Lady Diana, life, Lin-Manuel Miranda, love, M. Night Shyamalan, Maggie Gyllenhaal, Mary Steenburgen, memory, motherhood, movies, musicals, Netflix, Nicholas Cage, Nightmare Alley, obsession, Old, Olivia Coleman, online gaming, opinion, origin stories, people, Peter Lorre, philosophy, poverty, prequels, Prince Charles, Queen Elizabeth, Ralph Fiennes, refugees, remakes, responsibility, revenge, reviews, Rhys Ifans, Richard Jenkins, Ron Perlman, Rooney Mara, Roy Andersson, royal family, royalty, Rufus Sewell, Ryan Reynolds, Sally Hawkins, satire, science fiction, Sean Harris, sequels, smuggling, social criticism, social satire, Spencer, spies, Stanley Tucci, Stathis Giallelis, supernatural, Surface Pressure, surrealism, Swedish cinema, Sydney Greenstreet, Taika Waititi, technology, The Future, the Internet of everything, The King's Man, The Lost Daughter, The Maltese Falcon, The Mitchells Vs. The Machine, Thomasin McKenzie, Tim Blake Nelson, Timothy Spall, Tom Hollander, Toni Collette, tragedy, Tsar Nicholas, Tye Sheridan, villains, We Don’t Talk About Bruno, Willem Dafoe, World War I
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