Cube Critics Jacob Aloi and Max Sparber discuss a a movie about an opera soprano at the end of her life and a movie about an entire genre of music at the end of its life.

‘Maria’

Angelina Jolie delivers a compelling performance in “Maria,” a biopic about legendary soprano Maria Callas. The film centers on the final week of her life, framed as an imagined documentary crew capturing her swan song.

As Maria grapples with drug addiction and the loss of her voice — the foundation of her identity — the audience is drawn into her fragile psyche. Flashbacks to her tumultuous romance with Aristotle Onassis and encounters with JFK add depth to the narrative.

Though occasionally confusing and slow, the film offers insight into the mind of a performer in crisis. Now in select theaters, it streams on Netflix next week.

Yacht Rock: A Dockumentary

This documentary dives into the revival of yacht rock, the smooth, jazzy, soulful sound of the 1970s and ‘80s epitomized by artists like Michael McDonald, Steely Dan and Toto.

Featuring interviews with key musicians and session players who defined the genre, the film explores the emotional depth behind the mellow grooves and uncovers fascinating tidbits, such as Christopher Cross writing a hit song on LSD and “Thriller” being essentially a Toto album.

With a mix of nostalgia and humor, “Yacht Rock: A Dockumentary” is a breezy, engaging watch. Now streaming on Max.

Cube Critics got Glicked this week, catching “Wicked” and “Gladiator II.”

“Wicked” is the winter blockbuster everyone’s been anticipating. It’s a vibrant adaptation of the Broadway musical (itself loosely based on a book), telling the story of a young witch finding herself in the Land of Oz.

The film is led by the incredible Cynthia Erivo, who carries the movie with a stunning performance, and Ariana Grande, whose presence adds sparkle. The supporting cast shines too, with Jonathan Bailey, Michelle Yeoh as a cunning puppet master, and Jeff Goldblum as an entertaining Wizard.

“Gladiator II,” meanwhile, pales in comparison to its predecessor. While the performances are strong — Paul Mescal gives a solid lead turn, Pedro Pascal is intriguingly ambiguous and Denzel Washington steals the show as a villain — it struggles with plot depth.

Mescal’s character feels underdeveloped, often merely reacting to action scenes, while Denzel electrifies every moment he’s on screen but doesn’t get enough interaction with Mescal to elevate the story. “Gladiator II” is worth a watch if you have time, but if you must choose, “Wicked” wins by a landslide. Both films are now playing in theaters.

“Emilia Pérez” is a French film set in Mexico, shot largely on soundstages in France, blending elements of noir, musicals and occasional winking comedy.

The story follows a Mexican cartel boss (Karla Sofía Gascón) who transitions to living as a woman, with Zoe Saldaña playing the lawyer who helps her navigate the dangerous logistics of the operation and its aftermath.

Gascón, a trans actress, brings authenticity to a role treated with sincerity and compassion, while the film’s humor adds a cheeky charm.

The musical elements, though sporadic, are striking, showcasing Saldaña’s dance and theater background. Highlights include an operatic sing-talking style and a gun-loading choreography sequence, though the integration of music could have been more consistent.

This is an interesting moment for offbeat musicals (compare with 2021’s “Annette,” in which Adam Driver has a puppet as a child). Hopefully, as they mature they will get a firmer grasp on what makes musicals so powerful.

“Conclave” is a gripping political thriller set in the Vatican, centered on the high-stakes election of a new pope.

Ralph Fiennes stars as Cardinal Lawrence, the meticulous and morally driven Dean of the College of Cardinals, overseeing a process where ambition and ideology collide.

As factions clash — ranging from hardline traditionalists to liberal reformists — performances by Stanley Tucci, John Lithgow and others bring depth to this web of backroom machinations.

Less a religious film and more akin to “House of Cards,” “Conclave” explores the power struggles within the Church, revealing how politics and faith intertwine.

With stunning, Caravaggio-like visuals and an almost humorless tone, the film dives into a tense, absorbing series of twists as each vote shifts the fortunes of its characters.

“What We Do in the Shadows” is a vampire mockumentary series airing on FX, based on the 2014 film of the same name by Jemaine Clement and Taika Waititi. The show hilariously explores the mundane and supernatural challenges faced by a group of vampire roommates living in Staten Island.

The ensemble cast delivers standout performances, including:

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• Nandor the Relentless (Kayvan Novak), a former warlord who is less relentless than his name suggests.

  
  

• Laszlo (Matt Berry) and Nadja (Natasia Demetriou), a centuries-old vampire couple, with Berry producing some of the strangest pronunciations of the English language to be found on television.

  
  

• Colin Robinson (Mark Proksch), an energy vampire who drains people’s energy through banal conversations, is perhaps the most inspired comic creation on the show.

  
  

• Guillermo (Harvey Guillén), the loyal yet underappreciated familiar, undergoes the show’s most complicated character arc involving his Van Helsing ancestry and evolving role within the group.

  
  

• The show also offers memorable guest appearances from actors including Kristen Schaal and Tim Heidecker.

  
  
  

Over its seasons, the show has evolved beyond its film origins, developing rich storylines and deepening its characters. The final season explores the characters’ complicated dependence on Guillermo and the centrality of his role in the group.

Whether you’re new to the show or catching up, it’s easy to dive in from the beginning. Highly recommended for fans of comedy and supernatural genres alike.

“Slow Horses” returns with a fourth season that intertwines espionage thrills with sharp British humor. The series continues to follow a team of disgraced British spies relegated to Slough House, a dumping ground for MI5’s misfits.

Leading this motley crew is Jackson Lamb, portrayed with remarkable flair by Gary Oldman. Oldman’s depiction of Lamb as a brilliant yet disheveled and flatulence-prone former top agent is both hilarious and captivating. However, fans might wish for more screen time between Oldman and MI5 higher-up Kristin Scott Thomas, whose onscreen chemistry is electric.

This season introduces a new antagonist, ex-CIA operative Frank Harkness, played by Hugo Weaving of “The Matrix” fame. Weaving delivers a chilling performance that adds depth to a conspiracy connecting British and American intelligence services. His character’s machinations tie closely to River Cartwright (Jack Lowden) and his grandfather David Cartwright (Jonathan Pryce). Pryce offers a poignant portrayal of a seasoned spy grappling with dementia, potentially earning him another Emmy nomination.

Adding fresh energy to the ensemble is Tom Brooke as J.K. Coe, a behavior analyst whose sparse but sharp dialogue contributes to a standout comedic performance.

“Rumours” is a Canadian dark comedy horror film directed by Guy Maddin, alongside frequent collaborators Evan Johnson and Galen Johnson. Set during the G7 Summit in Germany, the film satirizes political incompetence as leaders from Canada, France, Germany, Japan, Italy, the UK and the U.S. convene in a gazebo to draft a provisional statement.

What ensues is a descent into absurdity and chaos, surrounded by a bog inhabited by resurrected “bog people” — ancient figures preserved in peat whose bones have dissolved, leaving them awfully wobbly and squishy.

Cate Blanchett delivers a standout performance as the German Chancellor, also serving as co-producer. Roy Dupuis portrays the personification of Canada, with each actor embodying their country’s idiosyncrasies — in this film, global leaders are buffoons.

The film’s visual style merges soft-focus aesthetics reminiscent of Thomas Kinkade paintings with “Scooby-Doo” and melodramatic soap opera elements.

“Rumours” boasts a script that feels improvisational. Memorable scenes include a giant brain and a childlike AI designed to catch predators, leading to a series of scenes where leaders must act suspicious enough to trigger a police response without getting arrested.

Blending horror and comedy, “Rumours” stands out as one of the year’s best in both genres, offering sharp commentary wrapped in hysterical and unsettling scenarios.

Adapted from the beloved graphic novel series of the same name by Alice Oseman, “Heartstopper” follows British high schoolers Nick Nelson and Charlie Spring on their journey of self-discovery and young love. The show also features the lives of their friend group as the young adults seek to find their place in the world.  

MPR News arts reporter Jacob Aloi and digital editor Kaila White review season three of “Heartstopper,” which is available now on Netflix.  

Heartstopper Season Three Synopsis 

Season three of “Heartstopper,” adapted from volumes four and five of the graphic novels, takes on mental health issues like eating disorders, OCD and anxiety, as well as struggles transgender people experience.

This season also grows up a bit from the previous two seasons, with Nick and Charlie inching ever closer to taking their relationship to the next level.  

Cube Critics Jacob Aloi and Alex V. Cipolle share insights on “Monsters: The Lyle and Eric Menendez Story,” the latest addition to Ryan Murphy’s anthology series exploring notorious criminal cases.

Jacob Aloi:

Jacob introduces the series as part of Ryan Murphy’s extensive catalog that delves into the minds of men who have committed heinous acts, referencing previous works like “The People vs. O.J. Simpson” and the series on Andrew Cunanan. He notes that this installment revisits the 1989 case of brothers Lyle and Eric Menendez, who murdered their parents.

He is particularly impressed by Nathan Lane’s portrayal of Dominic Dunne, the Vanity Fair gossip columnist and reporter. Jacob describes Lane’s performance as “delicious” and “wonderful,” adding depth, heart and humanity to the narrative.

However, Jacob expresses reservations about the show’s approach to its heavy subject matter. He questions the necessity of more series that potentially romanticize the psyches of individuals who have committed terrible acts.

He also warns viewers about the graphic depictions of sexual abuse, incest and physical violence, mentioning a particularly gripping but difficult episode where one brother recounts the horrific abuse he suffered.

Alex V. Cipolle:

Alex recalls the Menendez case vividly from her childhood, noting that the brothers were convicted in 1996. Despite not being a huge Ryan Murphy fan, she was curious about how the series would portray these events.

She praises the performances across the board, highlighting Chloe Sevigny and Javier Bardem as the parents, and commending the newcomers who play the Menendez brothers for their outstanding work.

Alex also reminisces about reading Dominic Dunne’s articles in Vanity Fair at a young age, adding a personal connection to the story. While she acknowledges that the show is well-acted and generally well-made, she is disturbed by how it handles the murders and the brothers’ sexual abuse defense.

Alex feels that Ryan Murphy doesn’t treat these serious topics with the gravity they deserve, suggesting that the series almost romanticizes them.

She echoes Jacob’s caution to viewers, emphasizing that the intense and unsettling content requires discretion. “Viewer beware,” she advises.

You can watch the series on Netflix.

Cube Critics Jacob Aloi and Aron Woldeslassie watch a spin-off from a Marvel television series and a spin-off of a DC film.

‘Agatha All Along’

“Agatha All Along” is a spin-off from the Marvel Cinematic Universe's TV series “WandaVision.” It follows Kathryn Hahn playing Agatha Harkness, a witch who has had her power stolen and is now on a quest to reclaim that power by going down the Witches Road.

This is not a superhero series at all; it’s a witch coven — perfect for a Halloween fall series. It’s about a coven of witches who come together by happenstance to face trials to reclaim something they’ve lost in the past.

It has brilliant performances, of course, by the lead, Kathryn Hahn, but you also have people like Patti LuPone, who plays this hilarious, very kooky Italian witch.

In “WandaVision” every episode was based on a different era of television. With this, there seems to be a little bit of that as well. So far, each episode has had a bit of a different feel to it and a bit of a different style, all kind of based around the individual witches.

I’m really hoping that we’ll get to see what each individual episode will look like for the witches on their trials. You can check out “Agatha All Along” on Disney+, with new episodes every Wednesday.

— Jacob Aloi

‘The Penguin’

I watched “The Penguin” on Max. The series follows the story of the 2022 film “The Batman” by Matt Reeves. At the end of the movie, mob boss Carmine Falcone dies, leaving a power vacuum in Gotham City, and looking to step up is Oz Cobb, aka Oswald Cobblepot, aka The Penguin.

Yes, if you didn’t already know, this is a Batman story, but what’s great about this series is that it doesn’t feature the Caped Crusader or any other superheroes. What this really is is a modified mob story — imagine “The Sopranos,” but watered down a little bit.

Don’t take that the wrong way; this series still has incredible storytelling and a fantastic design. The story is striking, evolving and very neat, particularly because Colin Farrell as The Penguin does a great job of giving emotional bandwidth to what is essentially a very silly comic book character.

I don’t know about you, but whenever I’ve seen The Penguin in any media, he is a silly, squawking tiny man, but in this series, he is emotional, angry and attempting to better himself by being the worst version of himself. I’m going to tell you to check out The Penguin on Max — new episodes every Saturday.

— Aron Woldeslassie

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’ — Jacob review

“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

‘Shaun of the Dead’ — Max review

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