Cube Critics Minnesota Public Radio

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.

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‘Hacks, Season 3’
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




Hacks Season 3 Trailer














‘Wicked Little Letters’
“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




Wicked Little Letters trailer

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’
“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




'Manhunt' trailer








'Manhunt' trailer





‘Monkey Man’
“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




Trailer for "Monkey Man"








Trailer for "Monkey Man"

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’
“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


Fallout trailer



‘Civil War’
“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


Civil War Trailer