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Critic’s Pick
The Fave 15: Carlos’ top movies of 2016
Carlos Valladares
•
Jan. 8, 2017
Southeast of Eden: An Angeleno’s take on Damien Chazelle’s ‘La La Land’
Carlos Valladares
•
Dec. 18, 2016
Concert Review: James Vincent McMorrow on Learning to be Comfortable with Discomfort
Andrea Lim
•
Dec. 8, 2016
Film score review: Welcome to the diverse world of ‘Fantastic Beasts’
Maimi Higuchi
•
Dec. 8, 2016
Let’s talk about that ‘How To Get Away With Murder’ winter finale
Olivia Popp
•
Dec. 2, 2016
Film review: Masterful ‘Moana’ defies the Disney formula
Elaine Kim
•
Dec. 1, 2016
Jóhann Jóhannson’s score for ‘Arrival’ proves that film scores need not be background
Jacob Kuppermann
•
Nov. 30, 2016
Stanford Philharmonia provides engaging glimpse into musical worlds
Ben Maldonado
•
Nov. 22, 2016
‘Daughters of the Dust’ director Julie Dash talks filmmaking, shaping the Black female image
Carlos Valladares
•
Nov. 20, 2016
80s Japanese foodie film ‘Tampopo’ serves up a Ramen Western
Amir Abou-Jaoude
•
Nov. 20, 2016
Film review: The woke political commitment of Paul Verhoeven’s ‘Elle’
Carlos Valladares
•
Nov. 17, 2016
Film review: ‘Edge of Seventeen’ nails the awful teen years
Olivia Popp
•
Nov. 17, 2016
Jeff Nichols’ ‘Loving’ Is As Tender As It Is Timely
Rey Barceló
•
Nov. 16, 2016
‘Narcos’ Is Absolutely Addicting
Kyle Dixon
•
Nov. 15, 2016
Album Review: faruhdey’s ‘SO(u)L’ is a family affair
Jacob Nierenberg
•
Nov. 14, 2016
Electrifying “In Volution” at the Nitery carries an extra sting, post-Election
Elizabeth Gerson
•
Nov. 11, 2016
Film review: Brainy alien-invasion story ‘Arrival’ marries Spectacle with Intelligence
Raymond Maspons
•
Nov. 11, 2016
Exhibit: Bruce Conner’s ‘It’s All True’ is destructive, brilliant and everything in between
Starr Jiang
•
Nov. 11, 2016
‘SO(u)L’ Power: 10 things to know about faruhdey’s debut album
Jacob Nierenberg
•
Nov. 11, 2016
Leonard Cohen faces mortality on ‘You Want It Darker’
Jacob Nierenberg
•
Nov. 8, 2016
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