Tuesday, November 5th, 2024

Critic’s Pick

‘What is Not Yours is Not Yours’ exquisitely enchants and eludes

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April 18, 2019

American culture is under fire in ‘The Big Heat’

Amir Abou-Jaoude

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April 16, 2019

‘The Addams Family’ is a macabre marvel

Jacob Kuppermann

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April 15, 2019

‘Detour’ provides a dark commentary on dreams and destiny

Amir Abou-Jaoude

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April 12, 2019

Meredith Monk’s ‘Cellular Songs’ and ways of living

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April 9, 2019

Bay Area high school students participate in ‘Hamilton’ education event

Chloe Wintersteen

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April 8, 2019

The shimmering tonal ambivalence of Billie Eilish

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April 5, 2019

In constructing a deconstruction — ‘City of Glass’ as the detective novel’s autopsy

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April 4, 2019

‘Selkie Stories are for Losers’ is a bittersweet winner

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April 3, 2019

‘Death in Venice’ documents the decline of the bourgeoisie

Amir Abou-Jaoude

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April 2, 2019

At 17 years old, Billie Eilish may have the album of the year

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March 29, 2019

Gaspar Noé’s ‘Climax’ is a chaotic triumph, not for the faint of heart

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March 18, 2019

With ‘Double Vision,’ Olivia Popp ’21 envisions new creative paths

Jacob Kuppermann

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March 14, 2019

Making Lin-Manuel Miranda’s music soar in ‘In the Heights’

Natalie Francis

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March 8, 2019

Unveiling ‘The Vela’: An interview with Becky Chambers, S. L. Huang and Yoon Ha Lee (Part 2)

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March 7, 2019

Unveiling ‘The Vela’: An interview with Becky Chambers, S. L. Huang and Yoon Ha Lee (Part 1)

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March 6, 2019

The Harmonics melodiously muse on the ‘mood’ of winter quarter

Natalie Francis

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March 5, 2019

‘Sex Education’ is compulsory viewing

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March 4, 2019

Woolf, witches and wives: Coming of age through archetype

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Feb. 27, 2019

Scorsese uses allusion to conjure up ‘The Age of Innocence’

Amir Abou-Jaoude

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Feb. 26, 2019