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