Joey Magidson
I have never previously cared about the minions. Hell, I’ve never actually seen all of a Despicable Me film, let alone a Minions movie. So, actually watching Minions & Monsters is a bit of a lark for me. My entire interest in this picture came from the concept of the little guys in old Hollywood, as well as the marketing that showcased some legitimately funny moments. Well, there’s truth in advertising, as everything involving the movie industry works really well, as do some early comedy set pieces. Then, a secondary plot really kicks in, which is far more what I thought the previous flicks were like. So, ultimately this is a mixed bag, but the highs are far higher than I expected.
Minions & Monsters is at its best when we’re either watching the minions search for a new villain to serve, or when they’re in 1920s Hollywood. The rest? Not so much, not because it’s bad, but because it’s bland Illumination silliness. When the other parts of this film are so fun and so unique and have so much genuine love for cinema, also having a run of the mill kids flick contained within is a bit of a system shock. More of the movie works than doesn’t, but there’s a chasm in quality between the good and the meh.
The film is presented not as a prequel, but actually an historical record of how the minions (voiced by Pierre Coffin) are essential parts of Hollywood lore. As told by tour guide Olivia (voice of Allison Janney) to both old and young in a cinema museum, the minions spent untold time search for a master. However, they often end up accidentally killing said villains, especially given how the tribe includes a member in James who has his head in the clouds. Instead of wanting to serve a big boss, James wants to create, something he bonds with fellow dreamers Ed and Henry about. One day, while wandering the desert, they come across what they think is a great prospect for villainy, only to discover that it was a movie being made. The director Max (voice of Christoph Waltz) is furious that his shot was ruined, but when his studio bosses (voice of Jeff Bridges) love the minions, Max recruits them to be in his films. In short order, stars are born, at least until 1927. Then, sound comes to movies, and the minions are yesterday’s news.
Determined to still have a chance to follow his dream, James comes up with an idea to make his own movie, titled Minions and Monsters. Needing some impressive monsters and shunned by their leader Dick, James, alongside Ed and Henry, utilize a book of spells from one of their aborted masters to conjure a beast. Instead, they conjure a small squid monster named Goomie (voice of Trey Parker), who says he can find them some real monsters. While that’s happening, the other minions, led by Dick, come across a robot alien named Dort (voice of Jesse Eisenberg) who could be their new big boss. Of course, the two threads will end up coming together in the end, though one is far more enjoyable than the other.
There is something very amusing about listening to Pierre Coffin as these various minions, especially since they don’t really make any sense. At the same time, the joke does wear thin without anything else to tickle your fancy, so when they’re not doing their Hollywood insanity, repetition sets in. In terms of the voice acting, Coffin certainly has the most to do, while the likes of Jeff Bridges and Allison Janney are extended cameos. Jesse Eisenberg is forgettable here, though saddled with the least interesting part of the flick. Trey Parker is fine, but sounds out of place, while Christoph Waltz actually feels properly cast, which is rare outside of Quentin Tarantino productions. The rest of the voice actors here include Zoey Deutch, Phil LaMarr, George Lucas (yes, really), Bobby Moynihan, and more.
Filmmaker Pierre Coffin directs and co-writes with Brian Lynch (in addition to all those minion voices), clearly using this as his blank check of sorts to make a tribute to classic Hollywood. There’s a lot of love given to 20s Hollywood, which actually could prove to be educational for budding cinephiles. I wish Coffin and Lynch had leaned in and made the entire film that way, as it would have been an absolute riot. Instead, we have a movie that starts out great, has a big drop off for a while, and finishes strong. Does that make Minions & Monsters both fun and disappointing at the same time, while also somehow so much better than it probably should be? Yes to all, frankly.
Minions & Monsters is still largely for kids, and the silly middle section is probably closer to a garden variety Minions tale, but the sections in old Hollywood and depicting filmmaking are a joy. So, while the flick is a mixed bag, the good stuff is so good, it’s worth seeing for that alone. Provided that you can deal with the kiddie parts, the moviemaking parts are a hoot.
SCORE: ★★1/2
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