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Critic’s Pick
Dietrich is an extraordinary actress in ‘The Scarlet Empress’
Amir Abou-Jaoude
•
Oct. 23, 2018
‘2001: A Space Odyssey’ is a bizarre, epic journey
Noah Howard
•
Oct. 22, 2018
‘The Guilty’ delivers thrills from behind a telephone
Grace Zhou
•
Oct. 19, 2018
National tour of ‘Waitress’ cooks up a new Broadway classic
Olivia Popp
•
Oct. 19, 2018
‘Contact Warhol’ illuminates the artist’s ingeniousness
Amir Abou-Jaoude
•
Oct. 18, 2018
‘First Man’ flies high
Hayley Hodson
•
Oct. 17, 2018
New York Minute: Exploring love, memory and loss in ‘The Things That Were There’
Alli Cruz
•
Oct. 17, 2018
‘Drogas Wave’ is the final boss of hip-hop concept albums
Hamza Ali Zahurullah
•
Oct. 16, 2018
Bradley Cooper critiques show business in ‘A Star Is Born’
Amir Abou-Jaoude
•
Oct. 15, 2018
Enjoying the fall edition of Corgi Con 2018 at Ocean Beach
Olivia Popp
•
Oct. 15, 2018
Satyajit Ray muses on movies and money in ‘The Hero’
Amir Abou-Jaoude
•
Oct. 12, 2018
New York Minute: CRASH Theater Co.’s ‘TaRaRaBOOM’ explodes with absurdity and modernity
Alli Cruz
•
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
ACT’s ‘Sweat’ is a masterclass in contemporary American theater
Olivia Popp
•
Oct. 5, 2018
milo’s alpha and omega
Malachi Dray
•
Oct. 5, 2018
Von Sternberg creates a land of light and shadow in ‘Shanghai Express’
Amir Abou-Jaoude
•
Oct. 4, 2018
‘Arturo Ui’ provides an eerie reflection of today’s administration
Olivia Popp
•
Oct. 4, 2018
John Waters’ ‘Female Trouble’ is twisted and terrific
Amir Abou-Jaoude
•
Oct. 3, 2018
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