Most critics like Cube, and they like it for the same reason: a great deal is done with almost nothing. The reviews keep returning to the single set, the strangers waking in a lethal maze of booby-trapped rooms, and the way Natali builds tension from puzzles and mistrust rather than action. Several praise the ensemble for holding the screen on what amounts to a bare stage, and most find the allegory about trust, betrayal and the cost of doing nothing absorbing rather than laboured.
The reservations are consistent even among admirers. The acting is called variable, the characters thin or overly broad, and more than one critic notes stretches where the film stalls or the allegory turns simplistic. The spread is narrow otherwise. The lone dissent comes from Slant Magazine, which grants the clever situation and a few decent scares but finds the film boxed in by its own premise, with no satisfying explanation or deeper payoff.
