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Tag Archives: independent films
KPK on the CINEMA (118): The Films of December 2021
. > Another December- another year-end rush of great movies! (All films are rated on a 5 star basis and must be over a decade old to get 5 stars.) > This month I have some fun reviewing the following … Continue reading →
Posted in KPK on the CINEMA
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Tagged 007, A Rainy Day in New York, Aardman Studios, absurdism, abuse, action, Adam McKay, addiction, Adrien Brody, Alejandro Jodorowsky, animation, Anjelica Huston, Anthony Bourdain, Ariana Grande, Arthur Hiller, Ashleigh Banfield, Australian cinema, B-movies, Ben Whishaw, Beneath the Planet of the Apes, Benedict Cumberbatch, Benicio Del Toro, Bill Murray, biography, Bob Balaban, Bob Cummings, brainwashing, British secret service, California, Cartoon Salon, Cate Blanchett, Charlton Heston, Cherry Jones, childhood, children, children of deaf adults, Chris Evans, Christoph Waltz, cinema, Coda, comedies, comedy, coming of age, conflict, conformity, cooking, corporate influence, criticism, culture, Dakota Johnson, Daniel Craig, death, Demián Bichir, depression, Diego Luna, Diego Maradona, Dirk Bogarde, disaster films, documentaries, Don Pedro Colley, Donald Sutherland, Don’t Look Up, Down’s Syndrome, drama, economics, Edward Norton, Elisabeth Moss, Elle Fanning, Emilia Jones, English cinema, entertainment, Ernst Lubitsch, espionage, estrangement, Eugenio Derbez, experimentation, exploitation, families, family, family drama, Fando y Lis, fantasy, fate, Filippo Scotti, film criticism, filmmaking, films, folktales, football, forgiveness, Frances McDormand, friendship, German cinema, global warming, grief, Henry Winkler, Hermione Gingold, Himesh Patel, humor, Ian Fleming, ideas, improvisation, independent films, individuality, Irish cinema, Irish folklore, isolation, Italian cinema, Italy, James Bond, James Franciscus, Jane Campion, Jason Schwartzman, Jeffrey Wright, Jennifer Lawrence, Jesse Plemons, John Cassavetes, John Hawkes, Jonah Hill, Jude Law, Julieta, Karl Malden, Keenan Wynn, Keith Carradine, Kevin Keelan, Kiersten Dunst, Kodi Smit-McPhee, KPK, KPKeelan, KPKworld, land, Lashana Lynch, Léa Seydoux, legends, Leonardo DiCaprio, Leslie Caron, Liev Schreiber, life, Liiev Schreiber, Linda Harrison, Locksmith Animation, Lois Smith, manipulation, Mark Rylance, marketing, Marlee Matlin, Marlon Brando, Mathieu Amalric, Meryl Streep, metaphor, Mexican cinema, mind control, Monterey, mothers and daughters, movies, Naomie Harris, Naples, New York, New York City, No Time to Die, One Eyed Jacks, opinion, Owen Wilson, Paolo Sorrentino, Pedro Almodovar, peer pressure, people, personalities, pro wrestling, Promise Her Anything, psychological drama, race, Ralph Finnes, Rami Malek, Rebecca Hall, relationships, research, revenge, reviews, road trips, Roadrunner, Robin Wright, robots, romance, Ron Perlman, Ron’s Gone Wrong, Rory Kinnear, Saoirse Ronan, Sarah Silverman, sci-fi, science, science fiction, Selena Gomez, self esteem, sequels, Shadows, Shia LaBeouf, silent films, soccer, social criticism, social media, social satire, Spanish cinema, spies, suicide, supernatural, superstition, surrealism, survival, symbolism, technology, The Doll, The French Dispatch, The Hand of God, The Mind Benders, The Peanut Butter Falcon, The Power of the Dog, Thomas Haden Church, Tilda Swinton, Timothée Chalamet, tragedy, travel, Troy Kotsur, Tyler Perry, values, Victor Buono, Warren Beatty, Wes Anderson, westerns, Willem Dafoe, William Peter Blatty, Wolfwalkers, Woody Allen, Zach Galifianakis, Zack Gottsagen
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KPK on the CINEMA (114): The Films of August 2021
. > THIS MONTH: Disney animation, Judy Holliday comedies, sly social satire, stark drama, film noir, experimental cinema, tales of obsession and coming of age, and vacuous British pop romance from the swinging sixties. (Sorry, no gothic horror documentaries this … Continue reading →
Posted in KPK on the CINEMA
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Tagged abstract, action, adultery, adventure, aging, Alan Tudyk, Anna Faris, Anthony Hopkins, Asif Mandvi, autocrats, Awkwafina, Barbara Stanwyck, Ben Kingsley, Black Jack, British cinema, business, Carroll Baker, childhood, Chris Elliot, Chris Parnell, Clash by Night, classics, comedy, coming of age, corruption, crime, cults, Darling, dementia, depression, Diane Ladd, Dirk Bogarde, Disney animation, Doris Roberts, drama, Edward Norton, experimental film, families, fantasy, farce, female empowerment, film noir, Florian Zeller, fraud, Fred Armisen, Fritz Lang, Full of Life, George Cukor, grief, heroines, His Kind of Woman, humor, Imogen Poots, independent films, infidelity, Jack Carson, Jack Garfein, Jack Lemmon, Jane Russell, Jean Stapleton, Jim Backus, John C. Reilly, John Schlesinger, Judy Holliday, Julie Christie, Kathryn Hahn, Kelly Marie Tran, Ken Loach, Kim Novack, Laurence Harvey, life, London, love, madness, Marilyn Monroe, Mark Robson, marriage, memory loss, Monterey California, myth, Nasim Pedrad, Olivia Coleman, Paul Douglas, period pieces, Phffft, pregnancy, quests, Ralph Meeker, rape, Raya and the Last Dragon, Raymond Burr, relationships, Richard Conte, Richard Quine, Robert Mitchum, Robert Ryan, romance, Rufus Sewell, Sacha Baron Cohen, Sandra Oh, satire, Schizopolis, sex, sexism, shareholders, slapstick, Something Wild, Southeast Asian culture, Steven Soderbergh, surrealism, The Dictator, The Father, The Marrying Kind, the sixties, The Solid Gold Cadillac, tragedy, trauma, trust, Vincent Price
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