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Film

Arts & Life
Jocelyn DeBoer (left) and Dawn Luebbe (right) wrote, directed, and star in the absurdist comedy "Greener Grass." (Courtesy of IFC Films)

Sundance 2019, part 1: Quirky and boundary-breaking films

Olivia Popp
  •  
Feb. 5, 2019
Allison (Ally Sheedy) and Claire (Molly Ringwald) experience epiphanies in Saturday detention (courtesy of Universal Pictures and Getty Images).

‘The Breakfast Club’ is an antique analysis of adolescent anguish

Amir Abou-Jaoude
  •  
Feb. 5, 2019
In "Call Me By Your Name," director Luca Guadagnino uses visuals, not voiceovers, to convey the characters' complex emotions (courtesy of Mongrel Media and Sony Pictures Classics).

What movies can do that books cannot

Carly Taylor
  •  
Feb. 1, 2019
In "Nothing to Hide," smartphones and secrets ruin a dinner party (courtesy of Netflix.)

‘Nothing to Hide’ proves a secret success

Juan Fueyo-Gomez
  •  
Jan. 29, 2019
n the "Black Mirror" episode "Bandersnatch," viewers determine the fate of video game programmer Stefan Butler (courtesy of Netflix).

‘Bandersnatch’ is a gimmick gone to waste

Noah Howard
  •  
Jan. 25, 2019
Gregory La Cava confronts the grim Great Depression in "My Man Godfrey" (courtesy of Universal Pictures and The Criterion Collection).

‘My Man Godfrey’ supplies sidesplitting comedy and social commentary

Amir Abou-Jaoude
  •  
Jan. 22, 2019
'Some Like It Hot' focuses on an all-girl band--except two members aren't girls at all (courtesy of Wikimedia Commons).

In ‘Some Like It Hot,’ Billy Wilder explores the attributes of artifice

Amir Abou-Jaoude
  •  
Jan. 18, 2019
The Ambersons spend much of their time sequestered in their magnificent mansion (courtesy of Warner Bros. Pictures and The Criterion Collection.)

Orson Welles documents a family’s dizzying decline in ‘The Magnificent Ambersons’

Amir Abou-Jaoude
  •  
Jan. 17, 2019
Warren Beatty plays a hedonistic hairdresser in Hal Ashby's "Shampoo" (courtesy of Sony Pictures and The Criterion Collection).

Sex, society and ‘Shampoo’

Amir Abou-Jaoude
  •  
Jan. 14, 2019
The Castro Theater, built in 1922, has become a San Francisco landmark (JONATHAN GOODY/Flickr).

Historic movie theaters of San Francisco

Emilia Diaz-Magaloni
  •  
Jan. 14, 2019
Mimi Leder's new film shows how Ruth Bader Ginsberg surmounted sexism (courtesy of Focus Features).

‘On the Basis of Sex’ can’t win the case

Grace Zhou
  •  
Jan. 10, 2019
Charlie (Hailee Steinfeld) finds an unlikely friend in the autobot Bumblebee, a refugee to Earth whom Charlie discovers. “Bumblebee” is the most recent installment in the Transformers franchise. (Courtesy of Paramount Pictures)

‘Bumblebee’: A masterfully nostalgic love letter to the 80s

Olivia Popp
  •  
Jan. 9, 2019
Boots Riley, writer and director of "Sorry to Bother You," speaks at Stanford after a screening of his film. (OLIVIA POPP/The Stanford Daily)

Boots Riley on ‘Sorry to Bother You,’ political organizing and making a difference

Olivia Popp and AnQi Yu
  •  
Jan. 7, 2019
Dale Bell and Harry Wiland make documentaries about pressing social issues (courtesy of Media Policy Center).

Documentaries for good: Dale Bell and Harry Wiland discuss the Media and Policy Center

Hayley Hodson
  •  
Dec. 19, 2018
Benedict Cumberbatch portrays the Grinch as a cute creature (courtesy of Illumination Entertainment and Universal Pictures).

‘The Grinch’ for the modern moment

Hayley Hodson
  •  
Dec. 17, 2018
Brian de Palma's "Sisters" centers around a mysterious murder (courtesy of Janus Films).

De Palma steals from the masters in ‘Sisters’

Amir Abou-Jaoude
  •  
Nov. 30, 2018
Meth addiction tears a family apart in "Beautiful Boy" (courtesy of Amazon Studios).

‘Beautiful Boy’: A tragic story of addiction

Emilia Diaz-Magaloni
  •  
Nov. 30, 2018
Anatoly Solonitsyn plays a renowned Russian painter in Andrei Tarkovsky's "Andrei Rublev" (courtesy of Janus Films).

In ‘Andrei Rublev,’ Tarkovsky contemplates artistry and reality

Amir Abou-Jaoude
  •  
Nov. 28, 2018
Rosamund Pike powerfully portrays war correspondent Marie Colvin in "A Private War" (PAUL CONROY/Aviron Pictures).

‘A Private War’ grounds a journalistic goddess

Noah Howard
  •  
Nov. 27, 2018
"The Other Side of the Wind" is Orson Welles' final film (courtesy of Netflix).

Beware Orson Welles’ final film

Hayley Hodson
  •  
Nov. 26, 2018
The Stanford Daily

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