Category: Review
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You Wish ‘Geronimo: An American Legend’ Unfolded from a Different Vantage Point
Walter Hill’s movie is both clear-eyed about the monstrousness of the American government and prone to preferencing the perspectives of white characters.
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‘Clearcut’ is Far Sharper Than Most Revenge Movies
Graham Greene is a force in Ryszard Bugajski’s chilling, thought-provoking 1991 thriller.
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‘Dumb Money’ Plays Like a Better-Than-Average Reenactment
The comedy, based on the GameStop short squeeze of 2021, is well-acted and -written, but little about it suggests dramatization was necessary.
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Seattle Has a Problem: On Beyoncé at Lumen Field
The icon brought her Renaissance Tour to the Emerald City last night.
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‘The Nun II’ is a Barely Serviceable Sequel to a Barely Serviceable Spin-Off
Habit-clad demon Valak returns to wreak even more terror after being seemingly damned back to Hell in 2018’s ‘The Nun.’
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The Dark Beauty of ‘Elvira Madigan’
Detractors tend to say that the overwhelming pastoralism of Bo Widerberg’s doomed romance undermines the bleak direction in which the film eventually goes. That’s hardly the case.
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How the Cascade Music Alliance is Uplifting the South Sound Music Community
Musician and co-founder Brittany Danielle says that, with the resource, she wants to build ‘a bigger pie so that we all have enough to eat.’
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‘Deep Rising’ is a Charmless Monster Movie
On Stephen Sommers’ post-‘Jurassic Park’ creature feature.
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Ayo Edebiri and Rachel Sennott Do Top-Tier Work in ‘Bottoms’
Plus: Virginie Efira is the reason to see twisty psychological thriller ‘Madeleine Collins.’
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SYML is Just Getting Started
In a new profile, the Sammamish-based musician discusses his new album, working with Lana Del Rey, his relationship with the Northwest, and more.
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‘Harlan County USA’ Still Feels Urgent
Revisiting Barbara Kopple’s excellent documentary about unionization efforts in Southeast Kentucky in the summer of 1973.
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What’s Great About ‘Carmen Jones’ Cuts Through What Isn’t
Dorothy Dandridge is the best thing about a movie whose historical significance does not shield it from perpetuating the ills of 1950s Hollywood’s complicated relationship with Black actors.
Peterson Reviews 