Cube Critics

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.

“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

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

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.

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

“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

“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

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.

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

“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

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.

“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

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

Cube Critics Alex V. Cipolle and Max Sparber discuss a show about women in comedy and a movie about an English coastal town rocked by a string of obscene letters.

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

The third season of “Hacks” on HBO Max continues to explore the comedic and sometimes contentious dynamics between different generations, especially highlighting the relationship between a boomer and a millennial. Jean Smart shines as Deborah Vance, a legendary Las Vegas comedian grappling with the threats of becoming irrelevant in the ever-evolving world of comedy.

Paired with her is Ava, a young queer comedy writer portrayed with an awkward aplomb by Hannah Einbinder. Their forced partnership serves as the core of the show, driving much of its humor and heart.

Set against the vivid backdrops of Las Vegas and Los Angeles, which almost become characters in their own right, the series delves into the contrasts between old and new, mainstream and alternative, straight and queer. These juxtapositions not only fuel the series‘ sharp wit but also foster a narrative where friction and differences lead to growth and improvement, albeit with growing pains.

Season three of “Hacks“ particularly excels in showing how Deborah and Ava break yet another glass ceiling for women in comedy, presenting their victories as both monumental and tinged with melancholy. Now streaming on HBO Max.

— Alex V. Cipolle

“Wicked Little Letters“ is a light and foul-mouthed British film now streaming, starring Jessie Buckley and Olivia Colman. Set in an English coastal town in the 1920s, the story is loosely based on true events involving a series of obscene letters that disturb the peace of the community.

Colman plays a sweet, somewhat coquettish woman bullied by her father, who is shocked to find herself receiving these crudely written and shockingly rude letters.

The suspicion quickly falls on Colman‘s Irish neighbor, Rose, portrayed by Jessie Buckley in a delightfully chaotic performance. Buckley‘s character, likely innocent, stands out even alongside the formidable talent of Colman. As the mystery unfolds, a group of quirky English women come together to solve the case, adding to the film‘s comedic and light-hearted flair.

“Wicked Little Letters“ coasts on a slight but enjoyable plot, enhanced by the strong chemistry between Buckley and Colman. Their dynamic performances drive the film, making it a must-watch for those who appreciate a good blend of humor and mystery in a quintessentially British setting.

The film, reminiscent of classics like “The Englishman Who Went Up a Hill but Came Down a Mountain,“ though more profane, is highly recommended and available for streaming.

— Max Sparber

Cube Critics talk about “Kingdom of the Planet of the Apes” and “Furiosa: A Mad Max Saga.”

Cube Critics Jacob Aloi and Kyra Miles discuss an absurdist cartoon comedy for adults and a Regency simp pretending to be a player.

Cube Critics watch a movie that is a love letter to stunt performers and a film about a kidnapping where — oops, the kidnapped child is a vampire.

Cube Critics Regina Medina and Max Sparber discuss a miniseries about the killing of Lincoln and a psychedelic action film set in India.

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

“Manhunt,” streaming on Apple TV+, is an engaging historical drama series that captures the intense pursuit of John Wilkes Booth following his assassination of President Abraham Lincoln.

Styled as a 19th century version of the modern thriller “24,” the series substitutes advanced technology with the era’s horses and Morse code, adding a unique twist to the chase narrative.

The series centers on Secretary of War Edwin Stanton, portrayed by Tobias Menzies of “Outlander” fame, who leads the manhunt with a deeply personal vendetta due to his admiration for Lincoln.

Patton Oswalt adds a distinct flavor to the show, playing the head of a federal law enforcement agency and infusing his characteristic vibes into the historical setting.

“Manhunt” employs a series of flashbacks that enrich the storyline by providing historical context and depth to the decisions and strategies employed during the hunt.

— Regina Medina

“Monkey Man,” the directorial debut of the charming English actor Dev Patel, who also co-wrote and stars in the film, is a hallucinogenic action thriller set in India.

Patel portrays a young man seeking revenge against the religious extremists and corrupt politicians responsible for destroying his village. The film is heavily inspired by the rise of right-wing ultra-nationalism in India.

“Monkey Man” begins with a gritty portrayal of underground fights where Patel wears a monkey mask, paired with his rise in a flashy yet squalid brothel.

The production, budgeted at about $10 million, punches well above its weight class, presenting street and fight scenes that are both energized and aesthetically pleasing, appearing as if the film cost 10 times as much.

Midway, the film shifts dramatically as Patel’s character finds himself in a temple belonging to Hijra, a community of transsexual, intersex and other third sex individuals that exists in real-life India.

Here, the narrative takes on elements of John Wick and Alejandro Jodorowsky’s “The Holy Mountain.”

After consuming a psychedelic root, Patel’s character transforms into an incarnation of the monkey god Hanuman, redirecting his quest from personal vengeance to fighting for broader justice issues — although against the same villains.

The latter part of the film is both brutal and dazzling, with scenes drenched in shocking gore. The movie’s unique style and narrative shift make it difficult to describe without resorting to invented or old-fashioned words like “psilocybonic” and “cataphysical.”

— Max Sparber

Cube Critics Jacob Aloi and Alex V. Cipolle discuss dystopian media.

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

“Fallout” is a new TV series on Amazon Prime, inspired by the beloved video game series of the same name. While I wasn’t deeply immersed in the Fallout games growing up — mostly watching friends play — I loved this series.

“Fallout” unfolds in an alternate universe steeped in retro-futurism, where the narrative begins in the 2070s following a catastrophic nuclear fallout. The series fast-forwards 200 years post-disaster — we’re in a world where, quoting the franchise’s iconic phrase, “War, war never changes.”

It follows a group of survivors navigating the harsh wasteland, trying to achieve various objectives. What’s particularly compelling about the show is its approach to storytelling; it doesn’t adapt any specific game or storyline from the Fallout series but offers an original narrative that seamlessly fits within the established world.

— Jacob Aloi

“Civil War,” now playing in theaters, is set in an alternate universe where the U.S. is embroiled in an actual civil war. The film stars Kirsten Dunst as a jaded war photojournalist and Nick Offerman in an atypical role as an authoritarian president. The narrative follows a team of photojournalists traveling across the country to the nation’s capital, capturing the horrors of war along their journey.

The film excels in its sound design and cinematography, which lushly and disturbingly capture the sublime almost beauty of war — highlighting the surreal and often horrific visual splendor of explosions and forest fires. However, the script leaves something to be desired. It occasionally delves into cringe-worthy territory, particularly with forced dialogues that seem uncharacteristic for seasoned war journalists, undermining the gravity of their experiences.

Despite these flaws, “Civil War” features a standout performance by Jesse Plemons, who plays a chillingly detached and casually racist militant, delivering a scene-stealing and terrifying portrayal. While some critics argue the film fails to take a definitive stance on authoritarianism, it primarily explores the intense psychological impact of war photojournalism. This focus is where “Civil War” finds its strength, looking at the toll this journalism takes.

— Alex V. Cipolle