“Empires fall. Glaciers melt and oceans rise. Monarchs and prime ministers are crowned and toppled,” said John Nugent on Empire. “But the Minions cannot be halted, will never cease, will outlive us all.” And so they are back, in the seventh instalment of the “Despicable Me/Minions” franchise.
As ever, these small yellow gibberish-spouting creatures are searching desperately for a “villainous master to serve, which sees them encounter everyone from the tyrants of revolutionary France to a fearsome cyclops”.
Eventually, the “ageless goofballs” land in silent-era Hollywood, where they try to make their own monster movie. The tone is “as juvenile as ever” – in a film that is “goofy and giggly and resolutely wedded to stupidity” – but happily for “cine-literate parents”, there are some “absurdist treats”, including “the first ‘Citizen Kane’-based fart joke in cinema history”.
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The film is “a hoot”, said Ed Potton in The Times, with “world-class slapstick” and a plethora of enjoyable movie references, not just to “Citizen Kane”, but to everything from Harold Lloyd and Buster Keaton to “Jaws”. And it boasts a “tremendous” voice cast: Jesse Eisenberg features as a deluded robot, Trey Parker as a small monster, Allison Janney as a museum curator, and George Lucas (as himself) and Jeff Bridges as a pair of Warner brothers-like studio bosses.
It has been billed as returning director Pierre Coffin’s “love letter” to old Hollywood, said Rafaela Bassili in The Guardian, but the pleasures of this set-up prove short-lived. Later acts are “cluttered with extraneous characters and absurd situations”, and you feel you are just watching more of the same Minions fare.
