Movies

Work still sucks, and ‘Office Space’ (1999) is still a masterpiece

I might have been in the first 1 percent of people to see “Office Space.” My buddy Jeremy and I had the theater to ourselves

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Malek, music are the stars of too-formulaic ‘Bohemian Rhapsody’ (Movie review)

Prior to seeing “Bohemian Rhapsody” (2018), I was hardly a Queen fan. The band’s popularity had faded before I was old enough to appreciate it, and

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Cooper, Gaga beautifully update ‘A Star is Born’ for a new generation (Movie review)

I’m usually not a fan of remakes, but I make exceptions if the remake brings a fresh perspective to the material. I can also be

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‘First Man’ is one small step for space-program cinema, one giant leap for insight into Neil Armstrong (Movie review)

After his love letters to jazz — “Whiplash” (2014) and “La La Land” (2016) — a film fan wouldn’t be surprised if director Damien Chazelle’s

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‘State and Main’ (2000) too trifling for my taste

With “State and Main” (2000), writer-director David Mamet delivers a satirical look at the making of a Hollywood movie, but it’s so lighthearted that it’s

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‘He’s Out There’ is a decently scary lake-cabin stalker thriller, but not a unique one (Movie review)

Similar to the two “Strangers” films, “He’s Out There” (2018, now on Netflix) strips the horror genre down to basics and tells a scary story

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‘Elizabethtown’ (2005) more than a ‘Garden State’ ripoff

“Elizabethtown’s” existence in 2005 ticked me off, since, as a huge “Garden State” fan, I felt it was ripping off that film’s plot of a

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‘Spanish Prisoner’ (1997) a gripping long-con puzzle

There’s something suspicious about the way people are acting around Joe Ross (Campbell Scott) in “The Spanish Prisoner” (1997). As the creator of The Process,

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‘The Devil’s Candy’ (2015) is heavy-metal horror

Don’t put on “The Devil’s Candy” (2015, Netflix) if you want something light. But if you’re in the mood for a stylish, heavy-metalized thriller, this

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‘House of Games’ (1987) is a meticulously crafted long con

“House of Games” was Roger Ebert’s No. 1 movie of 1987 and is one of my pal Michael Olinger’s top three movies of all time,

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