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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
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