Cube Critics Minnesota Public Radio

Cube Critics Jacob Aloi and Mandy Thalhuber discuss a historical fiction that was confusing and a movie about weather-obsessed individuals doing anything they possibly could to die.

The following are capsule reviews edited from the audio heard using the player above.

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‘Fly Me to the Moon’
“Fly Me to the Moon,” a romantic comedy set against the backdrop of the Apollo 11 mission, stars Scarlett Johansson and Channing Tatum as a NASA public relations specialist and a scientist.

The film attempts to weave historical fiction with romance by introducing a subplot where characters prepare to fake the moon landing should the real mission fail. '

Unfortunately, Johansson and Tatum lack the chemistry needed to make their on-screen relationship believable, a shortfall accentuated by revelations that Chris Evans was initially slated for the scientist role — a casting choice that might have offered more credibility.

Directed with an eye toward blending significant historical events with lighthearted romance, the film struggles to strike the right balance, landing in a realm of mediocrity without taking any notable risks.

— Jacob Aloi




Fly Me to the Moon trailer














‘Twisters’
“Twisters” offers a refreshing take on the storm-chasing genre. As a meteorologist, I appreciated the film’s accurate use of meteorological terms, a detail that often goes amiss in similar movies.

The plot centers around a grad student specializing in cloud microphysics who, after a traumatic experience, finds herself drawn back into the world of storm chasing.

The movie features Glen Powell as a charismatic yet over-the-top internet star storm chaser, adding a blend of charm and intensity to the narrative.

However, the film falters in depicting safety during tornadoes, notably a scene suggesting that overpasses are a safe shelter — a dangerous misconception. Additionally, the portrayal of tornado warnings is overly dramatized, with storms appearing suddenly following flashes of lightning, which detracts from the authenticity.

— Mandy Thalhuber




'Twisters' trailer

Cube Critics Alex V. Cipolle and Max Sparber discuss two serial killer movies set in the ’80s and ’90s and featuring women haunted by their pasts.

The following are capsule reviews edited from the audio heard using the player above.

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‘MaXXXine’
“MaXXXine” marks the third installment in director Ti West’s X series, following “X” and its prequel “Pearl.” Set in 1980s Los Angeles, the film sees the return of Mia Goth as the ambitious adult film star Maxine Minx, who is on the brink of mainstream success with her lead role in the horror movie “Puritan 2.” However, her rise to stardom is overshadowed by a series of murders linked to her past.

The film brilliantly captures the sleazy aesthetic of the ’80s without slipping into misogyny, blending campy, pulpy vibes with an array of gory, over-the-top deaths. "MaXXXine" also offers a nostalgic tour of Hollywood, featuring memorable scenes on the iconic set of "Psycho," providing a peek into the Bates Motel and the rarely seen interior of the Victorian house on the hill.

Mia Goth shines throughout, delivering a performance filled with unhinged charm and an almost alien beauty. While “MaXXXine” enriches its story when viewed as part of the X series trilogy, it’s also as a quintessential summer horror flick, drenched in ’80s pastiche.

Now in theaters, this film comes highly recommended for a thrilling, squishy-core experience.

— Alex V. Cipolle




MaXXXine trailer














‘Longlegs’
“Longlegs,” directed by Oz Perkins and starring Maika Monroe and Nicolas Cage, delves into the eerie world of supernatural horror.

Monroe, known for her role in “It Follows,” plays an FBI agent who may have psychic abilities. She is pursued by a serial killer nicknamed Longlegs, portrayed by Nicolas Cage in his most bizarre performance since his last film.

Cage's character, with his pasty white skin, long hair and absent eyebrows, is actually a bit reminiscent of Mia Goth’s distinctive style.

The film also has a connection to “Psycho,” with Oz Perkins being the son of “Psycho” star Anthony Perkins. The film includes nods to iconic horror influences — while Perkins cites “Silence of the Lambs” as an inspiration, the film’s atmosphere and unsettling tone bear a closer resemblance to “Twin Peaks.”

The plot, involving a satanic dollmaker and murder-suicide among families, has been criticized for making no sense, but I thought it made too much sense. The film works best as a collection of scenes that masterfully create unsettling vibes.

“Longlegs” promises to oscillate between terrifying and hilarious upon repeated viewings, much like the works of David Lynch.

— Max Sparber




Longlegs trailer

Cube Critics Max Sparber and Aron Woldeslassie discuss a 1996 film shot in California but set in Minnesota and season four of “The Boys.”

The following are capsule reviews edited from the audio heard using the player above.

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‘Mary Jane’s Not a Virgin Anymore’
“Mary Jane’s Not a Virgin Anymore,” a poignant film by the late Minnesota filmmaker Sarah Jacobson, is a rare gem from 1996 that occasionally surfaces in screenings.

Though shot in California, the film is set in an independent movie theater in Minnesota, likely modeled after the Uptown Theater, with its characters dressed in the Uptown Theater uniform of skinny black ties and white shirts.

The story centers around a teenage girl, played by Lisa Gerstein, who is coming to terms with her first sexual experiences and navigating complex friendships with her coworkers at the theater.

These young characters, involved in adult-like escapades, embody the turbulent transition from youth to adulthood, often depicted through their late-night hangouts involving large bottles of Scotch.

“Mary Jane Is Not a Virgin Anymore” also serves as a cultural time capsule for Minnesota in the ‘90s. The film features local details like bands playing at the Nye’s Polonaise Room and a Walker Art Center Jim Dine t-shirt, alongside a soundtrack that includes Babes in Toyland.

This is a rare opportunity to see both “Mary Jane” and another Jacobson film, “I Was a Teenager Serial Killer,” both streaming on Criterion.

— Max Sparber




Mary Jane's Not a Virgin Anymore scene














‘The Boys, Season 4’
Season four of “The Boys” on Amazon Prime escalates the series to exhilarating new highs and debaucherous new lows, continuing its tradition of intense violence, explicit content and sharp political commentary.

This season dives deeper into the schemes of its characters, notably with the series villain, Homelander, played by Anthony Starr, who attempts to take over the country. His coup reflects and touches upon current national issues, making the show especially relevant in today’s political climate.

“The Boys” is not suitable for children but offers a rich viewing experience for adults with its gory violence, ideological depth and well-earned pathos.

With the series finale approaching next Thursday, this season is a must-watch for both long-time fans and new viewers looking for a potent mix of action and thoughtful commentary.

— Aron Woldeslassie




The Boys Season 4 trailer

Cube Critics Max Sparber and Matt Mikus discuss a brand new ‘60s outlaw motorcyclist film and a film about really big robot that feels like it was written by a robot.

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The following are capsule reviews edited from the audio heard using the player above.

‘The Bikeriders’
“The Bikeriders,” directed by arthouse filmmaker Jeff Nichols, follows an outlaw bike gang in mid-60s Chicago. Based on the authentic photographs and recordings by Danny Lyons, the film has an unexpected authenticity, with detailed costumes and a vivid setting.

Tom Hardy and Austin Butler lead the cast, with Hardy — who never needs that much encouragement to be incomprehensible onscreen — delivering an especially incomprehensibly thick Chicago accent. Butler, who played Elvis, gives his young biker role an Elvis-like broodiness; eventually, he just wanders away. Jodie Comer, narrating and starring, impresses with a thick accent so pronounced it borders on distraction.

The film is episodic, telling of picnics, bar fights and escalating violence as the decade progresses. Elevating the film is an outstanding soundtrack, a compilation of garage rock and blues rock from bands like The Animals and The Stooges. The soundtrack alone makes the film worth watching.

— Max Sparber




Bikeriders trailer














‘Atlas’
“Atlas,” available on Netflix, is set in a dystopian future where humanity faces extinction from rogue AI. Jennifer Lopez stars as a data analyst named Atlas, who harbors deep distrust for AI, contrasting with a society that still heavily relies on it.

Atlas seems like it would have been the name of the film’s robot; No, the robot is named Smith.

The movie offers stunning effects and several high-octane action sequences that showcase Lopez’s attempt to anchor the film emotionally. However, the script offers too much of her character’s backstory — it feels unnecessary and burdens the straightforward action and survival narrative.

The mecha designs are impressively realized, but the writing does not support the visual achievements, resulting in a storyline that feels emotionally overwrought for an action movie.

— Matt Mikus




Atlas Trailer

Cube Critics Jacob Aloi and Kyra Miles discuss a home renovation show with a drag queen and a romance that wasn't very romantic.

The following are capsule reviews edited from the audio heard using the player above.

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‘Trixie Motel: Drag Me Home’
This week, I tuned into “Trixie Motel: Drag Me Home,” featuring the fabulous Ojibwe Midwest drag queen, Trixie Mattel, who gained world fame not just for her drag performances but also as a YouTube star and cosmetics entrepreneur and especially as the winner of “RuPaul’s Drag Race All Stars 3.”

This series is a follow-up to her previous venture, “The Trixie Motel,” where she transformed a Palm Springs motel into a glamorous destination. In “Drag Me Home,” Trixie and her boyfriend of seven years tackle renovating their new house in Hollywood, infusing it with their unique style to create a shared space.

The show is a delightful mix of home renovation adventures and sitcom-style sketches, complete with guest star cameos from the likes of Orville Peck and Nicole Byer.

It’s a fun watch, especially if you enjoy a blend of drag culture with the dynamics of home improvement. The house itself, described as having “good bones," provides a solid foundation for Trixie's creative designs and renovations.

For fans of renovation shows and those who love seeing drag queens in action beyond the stage, “Trixie Motel: Drag Me Home” is a highly recommended watch. It’s available on HGTV and streaming on Max.

— Jacob Aloi




Trixie Motel trailer














‘Bridgerton’ Season Three, Part Two
“Bridgerton” season three, part two, now streaming on Netflix, may disappoint fans seeking the romance typically central to the series. This latest installment falls short of delivering the anticipated love story between characters Penelope and Colin, offering few scenes that capture their happiness.

However, the season notably embraces LGBTQ+ themes. It introduces a nuanced subtext between Eloise Bridgerton and Cressida, explores Benedict Bridgerton’s sexuality further, and presents a compelling twist with Francesca Bridgerton’s love interest being recast as Michaela Stirling — a departure from the original books.

— Kyra Miles




Bridgerton Season 3 part 2 trailer

Cube Critics Jacob Aloi and Aron Woldeslassie talk about a Shakespearean drama at a Renaissance Festival and a pretty good comedy special.

The following are capsule reviews edited from the audio heard using the player above.

Click here.


‘Ren Faire’
“Ren Faire” is a three-part documentary series streaming on Max, which delves into the ongoing power struggle at the Texas Renaissance Festival, reputedly the largest in America.

The series focuses on the festival's founder and long-time ruler, George Coulam, as he contemplates retirement after nearly five decades. What sets this documentary apart is its blend of actual documentary footage with staged reenactments and fantasy sequences, enhancing the real-life drama with elements reminiscent of cinema verité and fantasy epics like “Game of Thrones.”

This creative approach not only enriches the narrative but also vividly captures the Shakespearean scope of the intrigues unfolding in Todd Mission, Texas. Highly recommended for its innovative style and engaging storytelling.

— Jacob Aloi




Ren Fair trailer














‘Hannah Einbinder: Everything Must Go’
Hannah Einbinder’s first comedy special, “Everything Must Go,” now streaming on Max, showcases her unique blend of sharp acting and absurd writing.

Known from the series “Hacks,“ Einbinder delivers an hour of comedy that diverges from the typical personal narratives common in debut specials. Instead, she demonstrates a mastery of comedic craft in a performance that feels intimate, like in a black box theater, though it takes place in a regular theater.

The special features moments of technical brilliance, such as sudden lighting changes and segments where she talks over jazz, enhancing the strange and amplified moments she creates.

This isn’t your straightforward, energetic comedy; it’s a bit more niche, coming from a perspective that might not resonate with everyone.

“Everything Must Go” offers unexpected moments and a distinct style that may appeal particularly to those ready for something different in their comedy viewing.

— Aron Woldeslassie




Hannah Einbinder: Everything Must Go trailer