PETERSON REVIEWS
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Don’t Worry About Seeing ‘Don’t Worry Darling,’ Darling
Olivia Wilde’s much-gossiped-about sophomore feature is nowhere near a disaster, but it’s not good, either.
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‘Blue Collar”s Frankness Takes You Aback
‘Blue Collar’ doesn’t end on a hopeful note akin to the more widely seen, and still-good, mainstream unionization drama ‘Norma Rae,’ which came out the next year. It wades in, and stays put in, the hell of working a hard, badly paying job
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She’s Done It Again: On Grace Jones at the Moore Theatre
The legendary septuagenarian put on a characteristically singular show in Seattle on Wednesday.
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An Unforgettable Night with Kehlani
The pop star powered through what felt like a cursed stop on their Blue Water Road Trip tour Sunday evening at Seattle’s WAMU Theater.
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‘The Woman King’ is a Towering, Complicated Action Epic
Plus: ‘Pearl,’ a prequel to the great neo-slasher film ‘X,’ disappoints.
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‘The Killing Floor’ is an Essential Historical Drama
‘The Killing Floor’ is as much an illuminating history lesson as it is a great, impassioned movie about the indignities of labor and the importance of fighting for a seat at the table.
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‘The Devil and Miss Jones’ Did ‘Undercover Boss’ First
Like how the film offers the unrealistic fantasy of a for-the-people mogul, we can only fantasize about a smarter, bolder version of ‘The Devil and Miss Jones.’
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‘Norma Rae’ Still Invigorates
‘Norma Rae’ isn’t electrifying by force. Instead, just by carefully dramatizing the process of unionization, it captures the simple thrills of workplace organization — the pleasurable charge felt when you realize it’s possible to have a say in an arena where you never thought you’d have one.
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‘Barbarian’ is One of the Year’s Best Horror Movies
Plus: ‘Hold Me Tight’ is an inconsistent meditation on grief.
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‘Chameleon Street’ Still Feels a Step Ahead
Faking it till you make it is rarely as literal as it is in ‘Chameleon Street.’
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‘Strike!’ Keeps Things on the Surface
‘Strike!’ is slight but pleasant, redeemed by a charming cast and a writer-director, Sarah Kernochan, whose fondness for her characters and subject matter is infectiously clear.
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High Hopes and Uncertain Futures in ‘Honk for Jesus. Save Your Soul.’ and ‘Funny Pages’
Reviewing a new satire and a coming-of-age comedy.
OCTOBER 2026
The Theme is ‘Thrills and Chills’
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The Surprising Sensitivity of ‘The Leopard Man’
This proto-slasher from 1943 takes pains to show that its victims are more than their fates.
August 19, 2026
May 25, 2026
May 13, 2026
Strong, Stoic Types
Director-star Paul Newman’s 1971 treatment of Ken Kesey’s ‘Sometimes a Great Notion’ perceptively observes the corrosiveness of toxic masculinity.
August 7, 2026
Working Girls
‘Broken Mirrors,’ Marleen Gorris’ 1984 follow-up to her still-transcendent feminist drama ‘A Question of Silence,’ expands on its predecessor’s themes while dramatically improving on its writer-director’s aesthetic command.
July 9, 2026
Found Connections
Donna Deitch’s ‘Desert Hearts’ was a breakthrough for lesbian representation in cinema. It also achieves another rarified thing: Characters who feel like they exist outside a screenplay’s bounds.
June 30, 2026
