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Critic’s Pick

‘Two Mile Hollow’ is a delightfully vicious reversal of classically white theater

Caro Asercion
  •  
July 1, 2018

[final cf] Austrian filmmaker Nikolaus Geyrhalter creates engaging, experimental documentaries

Maxwell Menzies
  •  
June 29, 2018

William Blake and Yayoi Kusama: Endless Myth

Hannah Knowles and Emma Heath
  •  
June 18, 2018

Stanley Donen’s ‘Charade’ provides old-fashioned fun

Abe Thompson
  •  
June 14, 2018

Carlos Valladares’ favorite movies

Carlos Valladares
  •  
June 11, 2018

Chloe Zhao’s ‘The Rider’ is riveting

Hayley Hodson
  •  
June 9, 2018

Tony Award-winning ‘Jersey Boys’ brings toe-tapping nostalgia to the Bay Area

Olivia Popp
  •  
June 8, 2018

WonderCon 2018: A blow-by-blow of pop culture highlights and must-sees

Olivia Popp
  •  
June 7, 2018

A BottleRockin’ hit: A convergence of music, food and art

Alli Cruz
  •  
June 7, 2018

Despite logistical challenges, Clusterfest brings gut-busting laughs to San Francisco

Samantha Wong and Olivia Popp
  •  
June 6, 2018

The Patience of Pusha T

Jacob Kuppermann
  •  
May 31, 2018
Arts & Life

‘Beast’ lacks bite but leaves audiences haunted

Olivia Popp
  •  
May 31, 2018

Throwback Thursday: Sergei Parajanov’s ‘The Color of Pomegranates’ is a mystifying masterpiece

Maxwell Menzies
  •  
May 31, 2018

‘The Color Purple’ revival stuns and dazzles, emotionally and theatrically

Olivia Popp
  •  
May 30, 2018

Janelle Monáe proves she’s human after all on ‘Dirty Computer’

Jacob Nierenberg
  •  
May 30, 2018

Theodore Roosevelt returns in Clay Jenkinson’s impersonation performance

Amir Abou-Jaoude
  •  
May 30, 2018

‘Avengers: Infinity War’ is infinitely impressive

Isaac Vaught
  •  
May 30, 2018

‘The Ocean & the Avenue’: an antidote to deadened Marvel cinema

Carlos Valladares
  •  
May 25, 2018

‘Deadpool 2’ is rife with blood, sweat and nonsense

Noah Howard
  •  
May 24, 2018

Can U2 reclaim its punk heritage without relying on past hits?

Jacob Nierenberg
  •  
May 17, 2018
The Stanford Daily

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