Nils Jepson

The image of a lonely woman eating bland, healthy food serves as the soulless inspiration for Sheila Callaghan’s soulful play “Women Laughing Alone with Salad.” It’s loud, it hurts, but oh boy, is it a whole lot more tasty than a lackluster garden salad.

“Night School” is bad — unwatchably so. Even Haddish, who can turn a grapefruit into a tool of endless humor, can’t save this half-hearted attempt at filmmaking.

“The House with a Clock in Its Walls” is a pure delight: sweet and overly indulgent, propelled by a strong sense of 1950s nostalgia and joy. While you may feel a little bloated by the end, who cares when you had so much fun stuffing your face getting there?

Miguel’s the type of artist played when you want to “chill,” when you want to “vibe” — the human iteration of the term “kickback.”

Throughout the whole runtime of “A Quiet Place,” one will be tempted to ask questions that make the film fall apart if you think about it.

Part comedy routine, part interview and part Q&A panel, “Front Row” is as experimental as ever. This makes the show all the more genuine.

“Muppet Guys Talking” is a film that is low-budget, incredibly uninteresting to look at, uninformative but infinitely endearing.

The play dilutes itself — who cares how or why Gina or Dennis die when the “redo” button will be hit in a couple of minutes, anyway?

The UC system needs to provide resources for students to find affordable housing. The city of Berkeley needs to regulate the quality of its infrastructure.

Nevertheless, in spite of these initial misgivings, no other adjectives perfectly encapsulate Berkeley Playhouse’s production of “Ragtime.”