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Reviews
Charlize Theron shines as an ‘Atomic Blonde’ in new action spy thriller
Evie Sun
  •  
Aug. 9, 2017
‘The Good Place’ brings representation and genius-level comedy to the small screen
Olivia Popp
  •  
Aug. 4, 2017
French comic movie ‘Valerian’ is another Luc Besson winner
Derian Lance
  •  
July 28, 2017
‘The Midwife’ is cliché but bien fait
Emily Sun
  •  
July 28, 2017
Rio, Bravo! Anat Cohen & Choro Aventuroso at Stanford Jazz
Michelle Wong
  •  
July 28, 2017
Season five of ‘Orange is the New Black’ is a messy yet beautiful riot
Olivia Popp
  •  
July 27, 2017
Issa Rae’s acclaimed series ‘Insecure’ is back for season two, and it’s ‘hella great’
Olivia Popp
  •  
July 21, 2017
Revisiting Joey Bada$$’s ‘All Amerikkkan Bada$$’
Esther Tsvayg
  •  
June 7, 2017
‘Sgt. Pepper’s Lonely Hearts Club Band’: Reflections on a Beatles opus, 50 years on
Carlos Valladares
  •  
June 6, 2017
Stanford Theater Lab’s ‘Gnit’ balances comedy and cruelty
Alessandro R.L. Hall
  •  
June 6, 2017
Does ‘Disrupt!’ disrupt? A few thoughts on Ram’s Head’s original musical
Madelaine Bixler
  •  
June 5, 2017
An American bard in Britain: Bob Dylan in concert
Nick Burns
  •  
June 3, 2017
‘Wakefield’ could be more woke
Amir Abou-Jaoude
  •  
June 1, 2017
The Mountain Goats’ ‘Goths’ ditches the guitar and finds light in dark places
Nick Burns
  •  
June 1, 2017
‘Autobiography of a Terrorist’ seeks to redefine preconceptions, misconceptions and reality
Olivia Popp
  •  
May 25, 2017
Zedd dazzles Stanford at Frost
Trenton Chang
  •  
May 24, 2017
‘Chuck’ wishes it were ‘Rocky’
Amir Abou-Jaoude
  •  
May 23, 2017
Perfume Genius’s ‘No Shape’ is the sound of hard-fought serenity
Jacob Nierenberg
  •  
May 21, 2017
Act naturally: Billy Wilder’s ‘The Apartment’ at the Stanford Theatre
Carlos Valladares
  •  
May 19, 2017
A tale of two sisters: ‘You for Me for You’ questions truth and reality in North Korea
Olivia Popp
  •  
May 19, 2017
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