Tag Archives: Garrett Hedlund

FLIX PIX (761): “TRIPLE FRONTIER is Testosterone-Pumped Entertainment”

Posted on September 3, 2022 by KPKeelan

TRIPLE FRONTIER (directed by J. C. Chandor, 2018) *** (out of 5) . > Netflix produced this testosterone-pumped action flick. Apparently not everything they produce is highbrow. It’s an action/thriller about a group of despondent men who felt abandoned and emasculated … Continue reading →

Posted in Flix Pix | Tagged action, art, Ben Affleck, Charlie Human, cinema, crime, criticism, films, Garrett Hedlund, heists, ideas, J.C. Chandor, Kevin Keelan, KPK, KPKeelan, KPKworld, movies, opinion, Oscar Isaac, Pedro Pascal, reviews, Triple Frontier | Leave a comment

FLIX PIX (372): “Netflix Stuns With MUDBOUND”

Posted on February 21, 2022 by KPKeelan

MUDBOUND (directed by Dee Rees, 2017) ****+ (out of 5) . > This stunning original historical drama helps make the case that Netflix is the best studio currently in existence. . This uncompromising view of life in the shameful Jim … Continue reading →

Posted in Flix Pix | Tagged American history, art, Carey Mulligan, cinema, criticism, Dee Rees, drama, films, Garrett Hedlund, ideas, Jason Clarke, Jason Mitchell, Jonathan Banks, Kevin Keelan, KPK, KPKeelan, KPKworld, Mary J. Blige, movies, Mudbound, Netflix, opinion, Rachel Morrison, racism, reviews, slavery, the south, tragedy, Virgil Williams | Leave a comment

KPK on the CINEMA (110): The Films of April 2021

Posted on August 3, 2021 by KPKeelan

. Oscar season! O rapture. (Ratings are on a 5 star scale. Note that a classic only becomes a classic after a decade or more.) (Titles in purple have been expanded for Flix Pix columns.) > This month I review the … Continue reading →

Posted in KPK on the CINEMA | Tagged #MeToo, A Man For All Seasons, abuse, action, addiction, aging, Aida?, alcohol, alcoholism, ambition, Americans, Andra day, animation, Another Round, Australian cinema, Bertrand Tavernier, big agra, biography, blockbusters, Bo Burnham, Bosnian cinema, brotherhood, Bruce Beresford, campers, capitalism, Carey Mulligan, caste system, Catholic church, childbirth, childhood, Chilean cinema, Chloé Zhao, Chris Pratt, Christopher Nolan, class, Clémence Poésy, Collective, comedies, coming of age, conscience, corruption, crime, criminals, Danish cinema, David Straithairn, death, Death Watch, Disney, documentaries, drama, dramas, drinking, drugs, dying, economic refugees, economics, Ed Harris, elderly, Ellen Burstyn, England, ethnic cleansing, family, family drama, fantasy, farming, fires, Francis McDormand, French cinema, Fritz Lang, Garrett Hedlund, gay films, gender, genocide, George MacKay, George Patton, globalism, government, grief, grieving, Harry Dean Stanton, Harvey Keitel, Helena Zengel, Henry Fonda, Himesh Patel, historical drama, Holocaust, humanity, identity, India, itinerant workers, Jasna Đuričić, jazz, Jesse Eisenberg, Jews, John David Washington, John Hurt, John Ratzenberger, journalism, justice, Kanopy, Kenneth Branagh, King Henry VIII, Klaus Barbie, Korean immigrants, Lee Daniels, legends, Leo McKern, lesbians, Leslie Jordan, love, Mads Mikkelsen, Marcel Marceau, mass murder, Matthias Schweighöfer, media, medical fraud, Michael Caine, midwives, Minari, musicians, Natasha Lyonne, Nazis, Netflix, News of the World, Nicholas Hoult, noir, Nomadland, nursing homes, Octavia Spencer, Onward, Paul Greengrass, Paul Scofield, peer pressure, people, persecution, Pieces of a Woman, Pixar, politics, Portrait of a Lady on Fire, Promising Young Woman, Puberty Blues, Quo Vadis, racism, rape, rebellion, rebels, relationships, reporters, resistance, revenge, Robert Bolt, Robert Pattinson, Robert Shaw, romance, Romanian cinema, Romy Schneider, Russell Crowe, satire, sci-fi, science fiction, sex, sexism, Shia LaBeouf, social criticism, Strange Fruit, success, supernatural, surf culture, survival, Susannah York, Sylvia Sidney, Tallulah Bankhead, Tenent, The Mole Agent, the press, The True History of the Kelly Gang, The United States Vs. Billie Holiday, The White Tiger, Thomas Vinterberg, Tom Hanks, Tom Holland, Tracey Ullman, tragedy, Trevante Rhodes, Vanessa Kirby, Vanessa Redgrave, violence, visual effects, war crimes, We the Animals, Wendy Hiller, westerns, World War II, You Only Live Once, youth | Leave a comment

KPK on the CINEMA (85): The Films of March 2019

Posted on July 9, 2021 by KPKeelan

. March!! (I take neither blame nor credit.) Go forward, Time! (Not like we can do much about it anyway…) (All ratings are on a 5 star scale. Note that a classic only becomes a classic after a decade or more.) … Continue reading →

Posted in KPK on the CINEMA | Tagged action, Arctic, Ari Aster, art, Arthur Penn, Beautiful Boy, Beethoven, Ben Affleck, biography, Bonnie and Clyde, Brian de Palma, capers, cartooning, Charlie Human, China, Chris Pine, cinema, Clifford Odets, cold war, crime, death, disability, Don’t Worry, drama, England, espionage, exploitation, families, filmmakers, filmmaking, films, Florence Pugh, Friedrich Shiller, Funeral in Berlin, Gabriel Byrne, Garrett Hedlund, Gladys Aylward, grief, Gus Van Sant, Harry Palmer, He Won’t Get Far On Foot, heists, Hereditary, history, hitmen, Hollywood, horror, Iceland, Ida Lupino, ideas, infidelity, Ingmar Bergman, Ingrid Bergman, Jack Black, Jack Palance, Joaquin Phoenix, John Callahan, Jonah Hill, Kathy Bates, Kevin Costner, Kevin Keelan, KPK, KPKeelan, KPKworld, law enforcement, loss, love, Mads Mikkelsen, Maria Bello, melodrama, Michael Caine, Michael Sheen, Miss Macbeth, movies, music, Netflix, opinion, Oscar Isaac, Outlaw King, Pedro Pascal, period pieces, Polar, power, relationships, reviews, Robert Donat, Robert the Bruce, Rod Steiger, romance, royalty, Scotland, secret agents, sex, Shelley Winters, spies, Stig Olin, studio moguls, success, suicide, supernatural, survival, The Big Knife, The Highwaymen, The Inn of the Sixth Happiness, thrillers, To Joy, Toni Collette, tragedy, Triple Frontier, violence, webcomics, wilderness, William Sadler, Woody | Leave a comment

KPK on the CINEMA (71): The Films of January 2018

Posted on June 25, 2021 by KPKeelan

. This time: biography, passion play, documentary, history, magic, science fiction, family drama, experimental cinema and Japanese anime. And away we go! (All ratings are on a 5 star scale. Note that a classic only becomes a classic after a decade … Continue reading →

Posted in KPK on the CINEMA | Tagged Adam Driver, Adam Sandler, Aisling Walsh, Albinoni, Alien: Covenant, Andy Kaufman, animation, art, artists, Ben Stiller, Billy Crudup, biography, Bolero, Canada, Candice Bergen, Carey Mulligan, Chopin, cinema, classical music, corruption, Dave Franco, Dee Rees, documentaries, drama, Dustin Hoffman, Emma Thompson, Ethan Hawke, Everett Lewisin, experimental film, film, film criticism, Garrett Hedlund, Holiday, horror, Icarus, Japanese anime, Jason Clarke, Jason Mitchell, Jesse Eisenberg, Jesus, Jim & Andy The Great Beyond, Jim Carrey, Jim Crow, Jonathan Banks, Judd Hirsch, Kathleen Waterston, Kevin Keelan, KPK, KPKeelan, KPKworld, Latka Gravas, magic, magicians, Man in the Moon, Mark Ruffalo, Mary J. Blige, Maud Dowley, Maudie, McDonald's, media, Michael Caine, Michael Fassbender, Michael Keaton, Mississippi, Morgan Freeman, movies, Mozart, Mudbound, music, music videos, My Window, Netflix, New Book, Noah Baumbach, Now You See Me 2, Oh! I Can’t Stop!, Olympic doping scandal, opinion, passion plays, Poland, Rachel Morrison, Ravel, reviews, Ridley Scott, Rossini, Roy Kroc, Russia, Sally Hawkins, Schubert, science fiction, Soup, Steps, Tango, The Founder, The Fourth Dimension, the KKK, The Meyerowitz Stories, The Orchestra, The Short Films of Zbigniew Rybczynski, The Square, The Way To Your Neighbor, thrillers, Tony Clifton, tragedy, Virgil Williams, Vladimir Putin, Woody Harrelson, You Tube, Your Name | Leave a comment

Tag Archives: Garrett Hedlund

FLIX PIX (761): “TRIPLE FRONTIER is Testosterone-Pumped Entertainment”

FLIX PIX (372): “Netflix Stuns With MUDBOUND”

KPK on the CINEMA (85): The Films of March 2019

KPK on the CINEMA (71): The Films of January 2018

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