Dear Doctor,
I hope you’re well. I’m writing this letter today to let you know that I am not. Or, at least, something seems very wrong. My symptoms first appeared last night when I realized that I was thoroughly enjoying the latest Illumination project, Minions & Monsters.
I’ll explain.
While I’ve never wished the Minions any particularly ill will, very few of entries of the mega-franchise have really entertained me. I was fully onboard with the first Despicable Me and didn’t mind Rise of Gru but, the more the Minions gained prominence in the global kids’ market, the less I’ve enjoyed them.
Illumination’s Minions & Monsters, directed by Pierre Coffin.
I even understand why they’re so beloved. Their nonsensical jabbering and invincible, rubber bodies have always been endearing. In a lot of ways, watching the Minions is like watching the old Looney Tunes projects. They’re both reckless and adorable. But that doesn’t mean I’m always excited about their next misadventure.
But something strange happened when I watched Minions & Monsters. With each passing explosion, banana-rambling and sight gag, my heart warmed over a little bit more. Yes, the same animated madness as always was on display but, truthfully, there’s something different here. In fact, Minions & Monsters is so blissfully stupid that it charms in the midst of its chaos.
Directed once again by Pierre Coffin, Minions & Monsters takes us back to the earliest days of the Minions as they begin their never-ending search for the perfect ‘Big Boss’. However, after centuries of failure, they accidentally crash land (and crash into) the world of Hollywood. At first, their crusty leader, Dick, believes this to be a mere distraction from their true calling. However, the creative spirits of minions James, Henry and Ed convince the rest to invest themselves into careers as movie stars. While they gradually conquer the Hollywood system, the Minions’ journey takes an unexpected twist as they’re forced to save the planet from a crew of unhinged and unbeatable monsters.
Illumination’s Minions & Monsters, directed by Pierre Coffin.
Admittedly, running the Minions through Hollywood may sound like the franchise has run out of ideas. (And that’s not coming from me. My 11-year-old said that when he first saw the trailer.) But Coffin’s fifth directorial effort in the Despicable world is arguably his most entertaining (and one of the best of the franchise). It’s simple, (mostly) focused and doesn’t put the emphasis (too much) on either saving or destroying the world.
Instead, by removing the beloved evil-doers from any real sense of franchise continuity, Coffin somehow also sets them free. Gone (mostly) are Gru and other characters that we know and love, replaced by what feels like an entirely fresh journey that doesn’t feel crammed into any particular timeline.
Throwing them ankle-deep into the world of Hollywood, Monsters lampoons the movie-making machine with goofy glory. Poking fun at classic films like Citizen Kane, Casablanca, The Blob, From the Earth to the Moon and many, many more, Monsters laughs at the silliness of fandom and the Hollywood machine. The result is a film that feels like a bizarre mash-up of Chuck Jones animation and David Zucker-style parody. (In fact, there’s even a ‘blink-and-you-miss-it’ nod to Airplane!, arguably the Zuckers’ most famous comedy franchise.)
Illumination’s Minions & Monsters, directed by Pierre Coffin.
In fact, the Minions even manage to poke fun at themselves, asking questions about how they’ve managed to remain this popular for so long in the cultural zeitgeist. With hilarious self-awareness, Monsters points out that people continue to love them for their reckless silliness, despite their lack of prestige. After all, the more bizarre they get, the more we seem to love them. (“Minions don’t win awards! They make money,” we’re told.)
And they made me laugh. A lot.
Certainly, a lot more than I expected.
What’s more, using the Minions this way also gives them a greater sense of purpose within the film. Yes, they still crave validation from the perfect ‘Big Boss’. But here, they simply want to tell stories. As James, Henry and Ed (who, to my knowledge, are new to the franchise) recognize the joy in having people laugh at their silly films. Whether they’re invading train robberies or saving the world from aliens, they just want the opportunity to entertain people (and maybe make some of that money along the way). It’s an almost earnest argument.
And maybe that’s the point. By battling big bads and oozing beasties, Minions & Monsters serves as a reminder that there’s still very much a place in Hollywoodland for the little bumbling banana-bros. They might be non-sensical, erratic and (often) irritating but they’re here to stay. And maybe that’s okay. Hollywood is still big enough to give them a corner office.
So, as you can see, this is clearly an advanced illness. The joyful silliness that I experienced in Minions & Monsters doesn’t feel natural yet it was undeniable. If you have any advice for me, please let me know. For now, I’ll simply take two bananas and call you in the morning.
Minions & Monsters is available in theatres on Wednesday, July 1st, 2026.
