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Tag Archives: Louis Malle
FLIX PIX (1115): “Louis Malle Charms With ZAZIE IN THE METRO”
ZAZIE DANS LE METRO (directed by Louis Malle, 1960) **** (out of 5) . > I am such a big fan of French director Louis Malle, it is a real pleasure to find films from his career I have overlooked. This … Continue reading →
Posted in Flix Pix
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Tagged absurdism, arts, cinema, comedies, criticism, entertainment, experimental film, films, French cinema, humor, ideas, Kevin Keelan, KPK, KPKeelan, KPKworld, Louis Malle, movies, opinion, Paris, reviews, surrealism, Zazie in the Metro
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FLIX PIX (956): “Roger Vadim, Louis Malle and Federico Fellini Conjure SPIRITS OF THE DEAD”
SPIRITS OF THE DEAD (directed by Roger Vadim, Louis Malle & Federico Fellini, 1968) . > I had been looking for this European trilogy of Edgar Allen Poe stories for a long while. . My interest was perked by the … Continue reading →
Posted in Flix Pix
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Tagged Alain Delon, anthologies, arts, Bridgette Bardot, Brigitte Bardot, celebrity, cinema, criticism, drama, Edgar Allen Poe, entertainment, fame, Federico Fellini, films, horror, ideas, Italian cinema, Jane Fonda, jealousy, Kevin Keelan, KPK, KPKeelan, KPKworld, Louis Malle, Metzengerstein, movies, murder, mystery, opinion, Peter Fonda, regret, reviews, Roger Vadim, Spirits of the Dead, suspense, Terence Stamp, Toby Dammit, tragedy, violence, William Wilson
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KPK on the CINEMA (98): The Films of April 2020
. > April 2020 saw me focusing on films by two of the most durable, respected icons of the cinema- black actors whose intrinsic dignity and integrity made them role models for millions of African Americans and other ethnicities who … Continue reading →
Posted in KPK on the CINEMA
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Tagged actors, addiction, Adolfo Celi, Al Gore, Alain Delon, alcoholism, angels, anti-Semitism, Bibi Anderson, bigotry, Bill Wise, Bobby Darin, Boris Karloff, Brigitte Bardot, Britannia Hospital, British cinema, Britt Ekland, Captain Nemo and the Underwater City, Carl Theodor Dryer, Chuck Connors, cinema, classics, climate, comedy, corruption, crime, criminals, Dennis Weaver, Diahann Carroll, directors, documentaries, drama, Duel at Diablo, Duke Ellington, dysfunction, ecology, Edgar Allen Poe, Edge of the City, Edward G. Robinson, environmentalism, expressionism, faith, families, fantasy, Federico Fellini, films, French cinema, Fritz Lang, gangsters, Gary A. Patton, German cinema, God, gun violence, Harry Belafonte, hatred, history, horror, Hubert Cornfield, ideas, immigrants, Inger Stevens, Israel, Jack Warden, James Garner, Jane Fonda, jazz, Jeff Gibbs, Jews, Joanne Woodward, John Cassavetes, John Ford, Joseph L. Mankiewicz, Jules Verne, Kevin Keelan, killers, KPK, KPKeelan, KPKworld, Krisha Fairchild, labor, László Kovács, life, Lindsay Anderson, Live and Become, loss, Louis Armstrong, Louis Malle, love, Malcolm McDowell, Martin Ritt, Mel Ferrer, Metzengerstein, Michael Moore, Mick Travis trilogy, migrants, misogyny, mistaken identity, movies, murder, musicians, mystery, Nazism, Neil Hefti, No Way Out, nuclear apocalypse, oceans, Operation Moses, opinion, Otto Wernicke, Paris Blues, Paul Newman, people, Peter Bogdanovich, Peter Falk, Peter Fonda, Peter Sellers, Planet of the Humans, politics, power, Pressure Point, racism, Ralph Nelson, Reseda Drive-In Theater, reviews, Richard Widmark, Robert Ryan, Robert Wiene, Roger Vadim, Rudolf Klein, satire, sexism, showbusiness, Sidney Poitier, silent films, snipers, Spirits of the Dead, suspense, Targets, Terence Stamp, The Angel Levine, The Bobo, The Hands of Orlac, The Testament of Dr. Mabuse, The Whole Town’s Talking, the world, The World the Flesh and the Devil, thrillers, Tim O’Kelly, Toby Dammit, Trey Edward Shults, vampires, Vampyr, violence, westerns, white supremacy, William Wilson, xenophobia, Zero Mostel
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KPK on the CINEMA (96): The Films of February 2020
. February 2020: one day longer than usual and some heavy shit is goin’ down… (All 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 … Continue reading →
Posted in KPK on the CINEMA
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Tagged 007, absurdism, Adolphe Menjou, Aleppo, American Factory, animation, art, Bashar Al-Assad, biography, bombs, Brazil, business, camp, capitalism, Carroll Shelby, cars, Casino Royale, Charles Boyer, children, China, Christian Bale, Christmas, cinema, comedies, competition, corporations, criticism, David Niven, Daytona, Deborah Kerr, Dick Powell, doctors, documentaries, drama, economics, Enzo Ferrari, experimental film, F. Murray Abraham, family films, fantasy, fate, films, For Sama, Ford Motor Company, Ford vs Ferrari, foreign ownership, French cinema, Fuyao, General Motors, George Raft, globalization, Henry Ford II, heroism, history, horror, hospitals, How to Train Your Dragon, I Lost My Body, Ian Fleming, ideas, insanity, It Happened Tomorrow, Jacqueline Bisset, James Bond, James Pattinson, journalism, Ken Miles, Kevin Keelan, kitsch, Klaus, KPK, KPKeelan, KPKworld, Le Mans, Louis Malle, manufacturing, Matt Damon, mermaids, movies, murder, Netflix, newspapers, Ohio, opinion, origin stories, Orson Welles, Paris, Pat O'Brien, Peter Sellers, politics, psychological drama, racing, relationships, reporters, reviews, Robert Eggers, romance, sailors, Santa Claus, satire, sequels, slapstick, spies, supernatural, surrealism, Syria, The Edge of Democracy, The Front Page, The Hidden World, The Lighthouse, the press, Tracy Letts, turkeys, Ursula Andress, violence, Waad al-Kateab, war crimes, warfare, Willem Dafoe, William Holden, Woody Allen, work, workers, Zazie Dans le Metro
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