In the latest installment of the Despicable Me franchise, Minions & Monsters, the filmmakers try to split the difference between cute chaos and a real story, but it never quite settles on either. The Minions are still funny in short bursts, but they don’t have enough depth to carry a full movie. That was clear back in Minions, and even with the small fix in Minions: The Rise of Gru, the problem hasn’t gone away. This time, the film leans on old Hollywood for energy, and for a while, that works.
The opening plays like a love letter to early cinema. There are clear nods to Workers Leaving the Lumière Factory, Safety Last!, and Modern Times. These moments land well and feel thoughtful. They also give the Minions a better fit since their style matches silent comedy. Once the story moves into a more standard plot, the cracks show. The jokes repeat, the chases stretch on, and the film starts to feel thin.
The setup follows two Minions, James and Henry, as they drift into early Hollywood and latch onto a struggling director named Max. Christoph Waltz gives Max a sharp edge, even when the script doesn’t. A runaway train sequence through Los Angeles stands out as the film’s best stretch. It’s fast, clear, and actually builds to something. Jeff Bridges voices studio bosses who push the Minions into stardom, which adds a light industry satire that the film doesn’t fully explore.
The movie frames its story with a museum tour led by Olivia, voiced by Allison Janney. It’s a smart device at first, especially with a quick George Lucas cameo. Then it fades into a long flashback that never builds much urgency. The Minions search for a boss again, fail again, and repeat the same beats before landing in Hollywood. It feels familiar in a way that doesn’t help.
Visually, the film is strong. The lighting and detail carry scenes that the script cannot. References to Citizen Kane and Singin’ in the Rain show real care for film history. Still, a side plot with a robot villain named Dort slows things down. Jesse Eisenberg voices him with nervous energy, but the story around him drags. A romance subplot adds little and cuts into the pacing.
The final act leans on noise and motion instead of payoff. A creature named Goomi pushes things into a loud finish that feels more busy than fun. By then, the Minions’ limits are clear. They work best when reacting to a stronger lead, not when they are the main draw. Minions & Monsters has charm and clear affection for movies, but it runs out of ideas before it reaches the end.
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English (US) · 