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Reviews

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

Samantha Wong and Olivia Popp
  •  
June 6, 2018

‘An Entomologist’s Love Story’ never takes off

Olivia Popp
  •  
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

‘Altered Carbon’ is visually radioactive yet as decaying as its name suggests

Abe Thompson
  •  
May 25, 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

Behind Y2E2 lies Stanford’s hidden treasure: a daily supply of food trucks

Chris Wang
  •  
May 23, 2018

‘Godard Mon Amour’ is a loving tribute to an irreverent genius

Amir Abou-Jaoude
  •  
May 15, 2018

‘Gruesome Playground Injuries’ is a grossly entertaining production

Alli Cruz
  •  
May 15, 2018

‘RBG’ fails to do justice to its subject

Amir Abou-Jaoude
  •  
May 15, 2018

Jack White’s ‘Boarding House Reach’ is a confounding disappointment

Jacob Nierenberg
  •  
May 15, 2018

‘Pacific Rim: Uprising’ doesn’t one-up the original

Noah Howard
  •  
May 14, 2018

The Breeders: a cross-generational appeal

Dylan Grosz
  •  
May 14, 2018

The truth of grief: Paul Fusco, Robert F. Kennedy and “The Train” at SFMOMA

Mac Taylor
  •  
May 11, 2018

‘A Quiet Place’ is silently scary

Hamza Ali Zahurullah
  •  
May 10, 2018
The Stanford Daily

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