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Film

The original ‘Planet of the Apes’ is innovative and refreshing

Olivia Popp
  •  
March 9, 2017

This weekend at the Stanford Theatre: ‘Design for Living’ and ‘The Merry Widow’

Carlos Valladares
  •  
March 3, 2017

Cardinal Studios’ latest films: ‘Raspberry,’ ‘Hellevator’

Chelsea Red-Horse Mohl
  •  
March 3, 2017

Worst films of 2016: ‘Nocturnal Animals’ is fashion without sense

Rey Barceló
  •  
March 2, 2017

Oscars 2017: In wacky finale, “Moonlight” wins Best Picture

Carlos Valladares
  •  
Feb. 27, 2017

Jordan Peele’s “Get Out” a horror-comedy of separation

Carlos Valladares
  •  
Feb. 23, 2017

The Daily Film Staff’s Oscars 2017 picks

Raymond Maspons
  •  
Feb. 23, 2017

At the Stanford: Lubitsch rom-coms hit the sweet spot

Carlos Valladares
  •  
Feb. 23, 2017

Throwback Thursday: Godard + The Rolling Stones = ‘Sympathy for the Devil’

Amir Abou-Jaoude
  •  
Feb. 23, 2017

Raoul Peck redefines the Civil Rights Movement in Oscar-nominated ‘I Am Not Your Negro’

Olivia Popp
  •  
Feb. 22, 2017

At the Stanford: Ernst Lubitsch’s ‘Broken Lullaby’ restores faith in humanity

Carlos Valladares
  •  
Feb. 17, 2017

Flashback Friday: ‘Symbiopsychotaxiplasm’ is a film even stranger than it sounds

Rey Barceló
  •  
Feb. 16, 2017

Throwback Thursday: ‘Holiday’ is an overlooked comedy gem

Amir Abou-Jaoude
  •  
Feb. 16, 2017

Flashback Friday: ‘Bells Are Ringing,’ life is singing

Carlos Valladares
  •  
Feb. 10, 2017

Throwback Thursday: Bergman ended his career on a high note with ‘Fanny and Alexander’

Elaine Kim
  •  
Feb. 2, 2017

Asghar Farhadi captivates with almost perfect ‘The Salesman’

Amir Abou-Jaoude
  •  
Jan. 31, 2017

Throwback Thursday: ‘Blow Out’ is a knockout

Rey Barceló
  •  
Jan. 26, 2017

Throwback Thursday: Even a minor Renoir work shines in ‘The Golden Coach’

Amir Abou-Jaoude
  •  
Jan. 25, 2017

Plot twist: ‘Split’ is really good

Raymond Maspons
  •  
Jan. 25, 2017

Oscars 2017: Who SHOULD get nominated

Carlos Valladares
  •  
Jan. 22, 2017
The Stanford Daily

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