Amanda Seyfried

Broadway SF is known for its high production value, and this Bay Area revival of the Broadway original “Mean Girls” is just, like, so fetch.

“Mank” succeeds because — like most Fincher films — it always stays attuned to the throughline of its characters’ destructive obsession, using all its stellar audiovisual elements to complement its hefty themes.

Despite its engaging visuals and intriguing #MeToo movement-inspired setup, “You Should Have Left” is a disappointingly shallow and self-indulgent facade.

Bacon reported that portraying a character grappling with this duality amid something of a midlife crisis — and seeking forgiveness for it — was both challenging and personally significant.

It would be to Stein’s discredit to not appreciate how Enzo’s story asks more from us than that we just hug our dogs a little more tightly.

“Cabaret” would fail to ride the wave of its surprise win, losing out to the old “razzle dazzle” of 2002 Best Picture winner “Chicago” as Rob Marshall’s tale of merry murderesses made its way to the Final Four.

It seems passé at this point to make an ABBA pun regarding “Mamma Mia! Here We Go Again.” But then again, how could one resist?

You can fondly reminisce about your time spent at UC Berkeley while bopping along to these tunes. We at the Clog sure will be!

In anticipation of the long-awaited sequel, let’s take a look back at the 10 best musical numbers from the 2008 movie and its star-studded cast.

“First Reformed” straddles the line between effectively esoteric and unnecessarily strange, at times stepping closer to the latter than might be preferred.