Cube Critics Jacob Aloi and Max Sparber discuss “Shaun of the Dead” at 20, one of the few horror comedies that still works as both a horror movie and a comedy.

“Shaun of the Dead” is a romantic comedy set during a zombie apocalypse movie. Watching it now, 20 years later, as somebody who has watched other films by director Edgar Wright, it was crazy to see some of the things that I’ve always associated with Edgar Wright, kind of seeing their prototypes played out here.

His brand of comedy — like the fast pace of our hero going through a mundane day while the world is falling apart around them — was really fun to watch.

This movie, to me, is a veritable who’s who of British comedians and huge names within the British film industry.

Bill Nighy is in this; Martin Freeman literally has a throwaway walking-by scene. But from what I understand, this was not necessarily the case when it came out 20 years ago. These people have had careers that have gone on from there, but they were not necessarily household names at the time.

As spooky season starts — Halloween is right around the corner — I think this is a really enjoyable watch for people who want a dark comedy that has love in it and has this romantic comedy vibe all set around a zombie apocalypse.

— Jacob Aloi

Star Simon Pegg, director Edgar Wright and costar Nick Frost were almost unknown when they made “Shaun of the Dead.” They had done a TV show together called “Spaced,” which I highly recommend; some of the other cast members also appeared in it.

It uses many of the same techniques, like the fast edits and this sense of the fantastic always being around the corner, which were applied to the film.

Again, if you haven't seen “Spaced,” highly recommended, but it was not well known in the United States. So this really was the breakthrough film for all these people; they've since gone on to have massive careers.

I think the common wisdom, which I agree with, is that this is an unusually successful horror comedy and that it works both as a horror movie and a comedy. The thing that really stands out for me, that makes it enjoyable on rewatch after rewatch, is how meticulously crafted it is.

There are a lot of in-jokes in the film, or subtle jokes that pay off not just later on in the film, but on later viewings, where you’re like, “"Oh my god, they were actually talking about this,” which you don’t catch on the first time. It’s really tightly crafted in that way.

— Max Sparber

MPR News Cube Critics Jacob Aloi and Alex V. Cipolle both review ‘Beetlejuice Beetlejuice,” the sequel to the beloved 1988 film by Tim Burton about a troublesome trickster ghost.

“Beetlejuice Beetlejuice” brings back several stars, including Winona Ryder, Catherine O’Hara, and, of course, Michael Keaton reprising his iconic role as Beetlejuice.

Having been obsessed with the original movie since I was a child, I found the film to be a visual delight with plenty of great performances. But it doesn’t quite capture the lightning-in-a-bottle magic of the original.

Michael Keaton absolutely nails Beetlejuice once again, embodying the role perfectly. Winona Ryder’s Lydia is somewhat defanged compared to her sassy goth persona from the first film, but, as Jacob Aloi points out, her character’s fear is understandable given her traumatic experiences as a former child bride of a trickster demo.

Despite this, Ryder still portrays Lydia as a strong mother, especially when her daughter Astrid, played by newcomer Jenna Ortega, is put in danger.

Perhaps my biggest gripe is the introduction of Willem Dafoe’s character — a ghost cop investigating ghost crimes. I found his performance to be hacky and derivative, lacking the originality that Dafoe is known for.

The premise of his character, a dead action film star turned ghost cop, felt forced and didn’t integrate seamlessly with the rest of the film.

— Alex V. Cipolle

This sequel feels more like a vibe than a tightly woven plot, presenting multiple storylines without a singular, unifying message — other than to “live the life that you’re given” and not to expect something different in the afterlife.

I absolutely loved the introduction of Willem Dafoe’s character. I think this addition is brilliant. The premise is fantastic: Dafoe plays an action film star who met his end performing his own stunts, leading to his current role as a ghostly law enforcer.

His character embodies a “Miami Vice”-esque vibe, complete with gun-slinging and quipping, which adds a fresh dynamic to the story.

Dafoe is awesome in this role. He brings a unique energy and charisma that perfectly complements the film’s quirky universe.

— Jacob Aloi

MPR News Cube Critics Jacob Aloi and Max Sparber discuss a biopic about an American president and another horror movie that Max is going to compare to David Lynch.

“Reagan,” a biopic about former U.S. President Ronald Reagan starring Dennis Quaid, presents an interesting mix of production values — sometimes it feels like a high-budget biopic from the 2000s, such as “W” or “Vice.” At other times, it resembles a Lifetime movie.

Quaid’s performance, while strong, is hindered by slightly distracting makeup and a voice that doesn’t quite nail Reagan’s distinctive tone, falling into an uncanny valley.

The film largely embraces the “Great Man Theory” of history, focusing on Reagan’s international diplomacy efforts, particularly his role in attempting to end the Cold War and dismantle communism. However, it only briefly touches on more controversial domestic issues like the AIDS epidemic or the War on Drugs. This leaves a gap for viewers seeking a more nuanced portrayal.

— Jacob Aloi

I said I wasn’t going to compare films to David Lynch anymore; I lied. A friend ran into “Twin Peaks” cast member Michael Horse, who told her that everything seems to have Lynch’s DNA on it now, and he’s right. This one sure does.

“Cuckoo” is a horror film set in the Bavarian Alps, featuring Hunter Schafer in a leading role. The film captures a Lynchian atmosphere of weirdness and mystery, centered around a teen who moves with her family to this eerie locale. The setting is notably kitschy, woody and weird like “Twin Peaks.” A mysterious woman who resembles a declining 1950s European movie star in a baggy coat and sunglasses will occasionally chase people down.

Schafer’s performance is a highlight, and while the film’s themes are not explicitly about transgender issues, it explores complex identities in a way that seems to be showing up in a lot of current horror films.

It’s easy to understand why stories of shifting identities might appeal to trans storytellers — “I Saw the TV Glow,” which I recently reviewed, was explicitly about this. Lynch’s films likewise look at worlds in which identities are not fixed, and he famously had a trans character in “Twin Peaks.”

These qualities add fascinating layers to the horror. “Cuckoo” stands out in a year rich with unique horror films, offering a compelling mix of bizarre elements and thought-provoking themes.

— Max Sparber

Cube Critics Jacob Aloi and Melissa Olson discuss a movie about a corporation that has taken over the world and a movie from a galaxy, far far away — but in a language much closer to home.

"Alien: Romulus" marks the latest entry in the "Aliens" franchise. As someone new to the franchise, I approached the film with fresh eyes — it’s like a classic slasher film but with a Xenomorph in place of the traditional masked antagonist. The setup involves young adults being pursued through close quarters, a formula that proves effective in delivering suspense and thrills.

For fans familiar with the "Aliens" universe, the film may feel somewhat redundant. While it executes the tried-and-true elements effectively — resulting in a satisfying if not groundbreaking experience — it reportedly does not introduce significant innovations.

Despite this, the film excels in its technical and artistic aspects. The score enhances the tense atmosphere, and the performances are commendably solid, supporting the film's high-stakes narrative. "Alien: Romulus" will likely appeal to horror and monster movie aficionados who enjoy edge-of-their-seat chase sequences in claustrophobic settings.

— Jacob Aloi

"Star Wars: A New Hope" in the Ojibwe language recently premiered with much fanfare in Winnipeg, Manitoba, and is now showing in Minnesota and Wisconsin. This special dub offers a fresh take on the beloved sci-fi classic through a collaboration between Lucas Films, the University of Manitoba and the Dakota Ojibway Tribal Council.

The project features voice actors from various communities across the U.S., including Ajuawak Kapashesit from the White Earth Nation, Anton Treuer from Leech Lake and Dustin Morrow from Lac Courte, who voices the iconic Obi-Wan Kenobi. This initiative not only brings a storied franchise closer to home for Ojibwe speakers but also serves as an invaluable educational resource, promoting the language's vitality and use among first speakers and learners alike.

Screenings are set for Friday at nine theaters across Minnesota, North Dakota and Wisconsin, including Oakdale, Parkwood and Southbridge Crossing theaters.

— Melissa Olson

Cube Critics Jacob Aloi and Aron Woldeslassie discuss an animated version of the Man of Steel and a new Batman series in a superhero-themed episode of Cube Critics. Up, up and away!

This week, I dove into the first two episodes of the new season of “My Adventures with Superman,” an animated series that explores Superman’s early days as a budding journalist and an emerging superhero.

Season two builds on the foundations laid in the first season, with Clark Kent already donning his iconic suit and dating Lois Lane. This season promises to dive deeper into his dual life, exploring challenges in the newsroom alongside villains he must confront.

A standout aspect of this series is its portrayal of Superman’s ideals — truth, justice and the American way — which contrasts with his adversaries, notably the government. Amanda Waller and Task Force X are introduced as early antagonists, setting up intriguing conflicts as Superman navigates his role in a society where the government's actions may not always align with the public's best interests.

Produced by the acclaimed Studio Mir from South Korea, “My Adventures with Superman'“ offers nostalgic appeal and fresh dynamics. The animation is vibrant, the storytelling engaging and the series skillfully balances action with ethical dilemmas. Available for streaming on Max.

— Jacob Aloi

If you’re looking for a superhero story that blends mystery and a more subdued atmosphere, “Batman: The Caped Crusader” on Amazon is a perfect choice. This series, consisting of 10 episodes, represents a thrilling return to form for die-hard Batman fans and draws a direct line back to the revered 1992 “Batman: The Animated Series.”

Created by Bruce Timm, who was instrumental in shaping the DC animated universe many of us grew up with, “Batman: The Caped Crusader” revisits the iconic character during his first year of crime-fighting in Gotham.

The series marries the clean-cut noir aesthetic of the original animated series with a fresh pacing and an intriguingly strange energy that only a limited series can offer. With just 10 episodes, each installment introduces characters and explores interactions with Batman in a manner that feels both nostalgic and novel.

— Aron Woldeslassie

Cube Critics Jacob Aloi and Max Sparber discuss a mediocre adaptation of a video game and a horror film about aliens who don’t like city noises. They’re just like Max!

“Borderlands,” adapted from the popular dystopian video game series, transitions to the big screen with mixed results. Cate Blanchett stars as Lilith, delivering a standout performance that showcases her formidable presence and action chops.

Blanchett’s portrayal is a high point in the film, offering a refreshing look at a woman over 40 leading a science fiction fantasy narrative.

However, beyond Blanchett’s performance, “Borderlands” suffers from a lackluster execution that doesn’t capture the essence or the appeal of its video game origin. The plot meanders through a clichéd storyline involving treasure hunters, a malevolent trillionaire and the race to secure a powerful artifact. The visuals are loud and the dialogue often falls flat, exacerbated by poorly executed ADR.

Fans of the video game series and newcomers alike have expressed disappointment. The film lands in the realm of mediocrity, unable to deliver the thrilling or coherent adventure fans might have hoped for.

— Jacob Aloi

“A Quiet Place: Day One” is the third installment in the series about an alien invasion where making any noise can be deadly — a terrifying scenario for anyone prone to sneezing loudly, like me.

Unlike “Inside Llewyn Davis,” where the protagonist spends the entire film unsuccessfully searching for a lost cat, in “Day One,” Lupita Nyong’o’s character experiences the opposite: her cat keeps reappearing. Much to the relief of animal lovers, the cat survives the ordeal unscathed.

Directed by the filmmaker behind “Pig,” known for its less fortunate tale of a truffle farmer and his pig, “Day One” is structured as a B-movie but elevates the format with an A-list cast and an independent director. This creates a distinctive vibe that blends mainstream appeal with indie sensibilities.

While the monsters didn’t scare me — a simple contraption involving a boombox and a bug zapper could solve the problem — the film excels in crafting sustained suspense sequences.

— Max Sparber

Cube Critics Jacob Aloi and Max Sparber discuss a gay dating show from Japan and a horror film about the trans experience.

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

“The Boyfriend” on Netflix offers a delightful slice of queer joy through its reality TV format, featuring queer, gay and bisexual Japanese men operating a coffee truck while living together in a shared house.

“The Boyfriend” shows us the day-to-day dynamics of friendship and romance among its cast, interspersed with commentary from a panel that includes serious critics, quirky observers and a drag queen.

However, viewers might find the dubbed version less appealing due to its limited voiceover cast. The original Japanese version with subtitles is recommended.

— Jacob Aloi

“I Saw the TV Glow” is a hauntingly introspective horror film from filmmaker Jans Schoenbrun — if you’re looking for queer joy, this ain’t it.

Instead, we are given eerie experiences of two 1990s teenagers obsessed with an oddball TV show reminiscent of cult classics like “Buffy the Vampire Slayer” and “The Adventures of Pete and Pete” — including cameos from both Pete and Pete. The story explores how the show eerily begins to influence their reality in inexplicable ways.

Processed to emulate the look of a vintage television show, the film boasts a strange neon beauty. Director Jans Schoenbrun, who is trans and nonbinary, addresses themes central to the trans experience, particularly the concept of “cracking the egg” — a term used within the trans community to describe the pivotal realization of one’s gender identity.

Ostensibly a horror film, “I Saw the TV Glow” doesn’t offer traditional frights, instead offering a pervasive sense of the uncanny. It explores the terror of feeling out of place and the chilling consequences of inaction.

— Max Sparber

Cube Critics Jacob Aloi and Regina Medina discuss a comic book movie that is by fans for fans and super insider and a noir-ish mystery comedy.

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

“Deadpool and Wolverine” marks a notable entry in the Marvel Cinematic Universe, being both the third installment in the Deadpool series and also its debut within the MCU following Disney’s acquisition of 20th Century Fox.

This brings Deadpool (Ryan Reynolds), into a broader cinematic context alongside Hugh Jackman’s iconic Wolverine.

Here, the duo traverses the multiverse in a quest to save Deadpool’s timeline, a plot rich with the trademark humor and fourth-wall-breaking antics expected from the “Merc with a Mouth.” The film pays homage to the ‘90s and early 2000s Marvel movies like the original “Daredevil” and the “X-Men” series.

It’s a must-watch for fans of the comic books and those who hold a special place for the superhero films of the early 2000s.

— Jacob Aloi

“Sunny,” starring Rashida Jones, is a compelling new series on Apple TV+ that belies its cheerful title with a plunge into darker, more complex themes. Set against a backdrop that combines the neon-lit aesthetic of “Blade Runner” with the gritty underworld dynamics of “The Sopranos,” the show delivers a richly textured narrative.

Jones portrays Suzie, an American woman navigating life in Kyoto after the deaths of her Japanese husband and son. Suzie receives a robot named Sunny, designed by her late husband's company.

Together with Mixxy, a bartender, Susie looks into a mystery surrounding her husband’s secretive past. The series offers suspenseful detective work as well as a thoughtful exploration of Japanese cultural practices related to mourning and honor.

— Regina Medina

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.

“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

“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

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.

“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

“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