Sunday, November 17th, 2024

Reviews

Joyce Carol Oates chronicles the fall of an American family in ‘We Were the Mulvaneys’

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Feb. 8, 2019

Sundance 2019, part 3: Best of the Fest

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Feb. 7, 2019

‘Alita’ features angelic action

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Feb. 7, 2019

‘Baby’ is soapy and unsettling

Juan Fueyo-Gomez

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Feb. 7, 2019

Sundance 2019, part 2: U.S. Dramatic Competition

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Feb. 6, 2019

Sundance 2019, part 1: Quirky and boundary-breaking films

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Feb. 5, 2019

‘The Breakfast Club’ is an antique analysis of adolescent anguish

Amir Abou-Jaoude

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Feb. 5, 2019

‘Her Body and Other Parties’ gives shape to female stories

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Feb. 4, 2019

‘Avenue Q’ brings laughs to the Bay Area

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Feb. 4, 2019

A masterful interplay of music and acting in ‘A Little Night Music’

Natalie Francis

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Feb. 1, 2019

Durham through Little Brother’s eyes

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Jan. 30, 2019

‘Nothing to Hide’ proves a secret success

Juan Fueyo-Gomez

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Jan. 29, 2019

SF Sketchfest brings great comedy to the Bay

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Jan. 28, 2019

‘Bandersnatch’ is a gimmick gone to waste

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Jan. 25, 2019

Performed live, Tony Award-winning musical ‘Dear Evan Hansen’ is a complete artistic disappointment

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Jan. 25, 2019

‘My Man Godfrey’ supplies sidesplitting comedy and social commentary

Amir Abou-Jaoude

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Jan. 22, 2019

SF Playhouse’s ‘Mary Poppins’ is ‘practically perfect’

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Jan. 22, 2019

In ‘Some Like It Hot,’ Billy Wilder explores the attributes of artifice

Amir Abou-Jaoude

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Jan. 18, 2019

Orson Welles documents a family’s dizzying decline in ‘The Magnificent Ambersons’

Amir Abou-Jaoude

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Jan. 17, 2019

Wizard puberty and other less important matters

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Jan. 16, 2019