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Amir Abou-Jaoude
Eloquence vs. exploitation: Berkeley and Stanford alumni face off in Hollywood
Amir Abou-Jaoude
•
Nov. 30, 2018
De Palma steals from the masters in ‘Sisters’
Amir Abou-Jaoude
•
Nov. 30, 2018
In ‘Andrei Rublev,’ Tarkovsky contemplates artistry and reality
Amir Abou-Jaoude
•
Nov. 28, 2018
In ‘Westfront 1918,’ Pabst evokes the traumas of World War I
Amir Abou-Jaoude
•
Nov. 12, 2018
Elect to revisit these artworks on election night
Olivia Popp
,
Amir Abou-Jaoude
and
Shana E. Hadi
•
Nov. 6, 2018
Timothy Ferris and Frank Drake discuss their dispatch to deep space
Amir Abou-Jaoude
•
Oct. 26, 2018
Puccini’s ‘Tosca’ is melodramatic and moving
Amir Abou-Jaoude
•
Oct. 25, 2018
Dietrich is an extraordinary actress in ‘The Scarlet Empress’
Amir Abou-Jaoude
•
Oct. 23, 2018
‘Contact Warhol’ illuminates the artist’s ingeniousness
Amir Abou-Jaoude
•
Oct. 18, 2018
Bradley Cooper critiques show business in ‘A Star Is Born’
Amir Abou-Jaoude
•
Oct. 15, 2018
Satyajit Ray muses on movies and money in ‘The Hero’
Amir Abou-Jaoude
•
Oct. 12, 2018
Powell and Pressburger portray two wonderful worlds in ‘A Matter of Life and Death’
Amir Abou-Jaoude
•
Oct. 9, 2018
In ‘The Awful Truth,’ McCarey crafts a comedy about class
Amir Abou-Jaoude
•
Oct. 8, 2018
In ‘El Sur,’ Victor Erice contemplates childhood
Amir Abou-Jaoude
•
Oct. 5, 2018
Von Sternberg creates a land of light and shadow in ‘Shanghai Express’
Amir Abou-Jaoude
•
Oct. 4, 2018
John Waters’ ‘Female Trouble’ is twisted and terrific
Amir Abou-Jaoude
•
Oct. 3, 2018
In ‘Fahrenheit 11/9,’ Michael Moore crafts an incendiary argument
Amir Abou-Jaoude
•
Oct. 2, 2018
‘Tom Jones’ is strangely timeless
Amir Abou-Jaoude
•
Oct. 1, 2018
‘Science Fair’ doesn’t experiment enough
Amir Abou-Jaoude
•
Sept. 26, 2018
Bette Davis shines in ‘The Star’
Amir Abou-Jaoude
•
Sept. 25, 2018
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