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Reviews
Brent Faiyaz sings his sorrows on the melancholy ‘Sonder Son’
Omar Rafik El-Sabrout
  •  
Nov. 3, 2017
From ‘The Square’ comes a powerful plea for humanity
Elaine Kim
  •  
Nov. 2, 2017
The relatable brilliance of ‘My Brilliant Friend’
Anna-Sofia Lesiv
  •  
Nov. 1, 2017
Campus gem: The Market at Munger
Blake Sharp
  •  
Oct. 31, 2017
‘The Prince of Egypt’ shines artistically but battles with representation
Olivia Popp
  •  
Oct. 30, 2017
Christ or Chaos: Walker Evans in the San Francisco Museum of Modern Art
Mac Taylor
  •  
Oct. 29, 2017
Even Michael Fassbender can’t save ‘The Snowman’ from its cold, lifeless narrative
Noah Howard
  •  
Oct. 27, 2017
Nina Katchadourian drops a sick beat and sicker dial tone
Julia Gordon
  •  
Oct. 26, 2017
Blazing in ‘Airless Spaces’
Ben Maldonado
  •  
Oct. 26, 2017
Introspection, empathy and bedroom pop: Jay Som in concert
Paulina Campos
  •  
Oct. 26, 2017
No, don’t say ‘boo,’ just watch your wallet at Nobu Palo Alto
Chris Wang
  •  
Oct. 25, 2017
Andrew Bird lights up Bing with graceful melodies guaranteed to warm your soul
Olivia Popp
  •  
Oct. 25, 2017
Xandra Ibarra’s ‘Nude Laughing’ is much more than a few giggles
Mell Chhoy
  •  
Oct. 25, 2017
Harry Gamboa Jr.’s performance art is impactful as ever in ‘Vital Signs’
Natalie Sada
  •  
Oct. 24, 2017
Margaret Cho’s ‘Fresh Off the Bloat’ champions diversity in the age of Trump
Olivia Popp
  •  
Oct. 23, 2017
Demi Lovato expands creatively but not without growing pains on ‘Tell Me You Love Me’
Jourdann Fraser
  •  
Oct. 23, 2017
Winter is here, but has ‘Game of Thrones’ gone cold?
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Oct. 22, 2017
Word, wound, world: Innovations in storytelling in ‘With Those We Love Alive’
Ashley Huang
  •  
Oct. 22, 2017
Arts & Life
‘Slingshot’ will shoot its way into your geeky heart
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  •  
Oct. 21, 2017
The U.K.’s ‘The Office’ champions caustic cringe comedy
Olivia Popp
  •  
Oct. 20, 2017
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