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Reviews
‘Lil Pump’ is not worth your time
Jacob Kuppermann
  •  
Oct. 18, 2017
Intimate and grandiose: the genius of Vangelis’ ‘Blade Runner’ soundtrack
Hamza Ali Zahurullah
  •  
Oct. 17, 2017
Cracking open Andy Weir’s ‘The Egg’
Shana E. Hadi
  •  
Oct. 17, 2017
Hope Gangloff’s portraits fuse intimacy and fine art
Shannen Torres
  •  
Oct. 17, 2017
‘They Live By Night’ uncovers a soft side to a classic criminal couple
Amir Abou-Jaoude
  •  
Oct. 17, 2017
‘A Moment Apart’: ODESZA’s new groove
Trenton Chang
  •  
Oct. 12, 2017
Arts & Life
Jazz is hard and life is easy with Mads Tolling & The Mads Men: ‘Playing the 60s’
Olivia Popp
  •  
Oct. 11, 2017
Christopher Chen’s ‘A Tale of Autumn’ contorts reality and perception
Olivia Popp
  •  
Oct. 9, 2017
Personal, not political apocalypse on Queens of the Stone Age’s ‘Villains’
Dylan Grosz
  •  
Oct. 5, 2017
“Edvard Munch,” Warner Bros at the Stanford
Carlos Valladares
  •  
Oct. 5, 2017
Marvel’s ‘The Defenders’ falls short on story but fights to be fun
Olivia Popp
  •  
Oct. 2, 2017
‘Bodak Yellow’: 2017’s most unlikely pop hit
Jacob Kuppermann
  •  
Sept. 29, 2017
Arts & Life
Fall TV series premieres: what to watch and what to avoid
Olivia Popp
  •  
Sept. 26, 2017
Hard truth: a review of ‘An Evening with Ken Burns’
Elizabeth Gerson
  •  
Sept. 26, 2017
OSF pt. 3: Jiehae Park’s masterful ‘Hannah and the Dread Gazebo’ tackles a multifaceted Korean American experience
Olivia Popp
  •  
Sept. 25, 2017
At the Stanford: Michael Curtiz’ ‘The Breaking Point’ is a more brutally honest ‘Casablanca’
Carlos Valladares
  •  
Sept. 20, 2017
This weekend at the Stanford: ‘My Fair Lady,’ ‘East of Eden’
Carlos Valladares
  •  
Sept. 18, 2017
Colliding indoors: Ai Weiwei’s ‘Hansel & Gretel’ at NYC’s Park Avenue Armory
Mac Taylor
  •  
Aug. 28, 2017
Two points of view on Arcade Fire’s ‘Everything Now’
Jacob Kuppermann
  •  
Aug. 25, 2017
Lorde’s ‘Melodrama’ is the most interesting album of the summer
Jacob Kuppermann
  •  
Aug. 15, 2017
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