“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

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’ — Alex V. Cipolle review

“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

‘Beetlejuice Beetlejuice’ — Jacob Aloi review

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’

“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

‘Cuckoo’

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: Romlulus’

"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 Ojibwe

"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