--- title: "Minions & Monsters" year: 2026 kind: "film" canonical: "https://film.one/film/minions-and-monsters" fi1m_id: "minions-and-monsters" imdb_id: "tt32890033" tmdb_id: 1315772 wikidata_id: "Q127605787" fi1m_score: 70 critics_score: 72 critics_reviews: 10 published: "2026-09-09" updated: "2026-09-18T08:37:42.474654+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Minions & Monsters (2026) Directed by Pierre Coffin · 1h 30m · MPA PG · Adventure, Animation, Comedy, Family, Fantasy ## Identity Minions & Monsters - **Canonical:** https://film.one/film/minions-and-monsters - **Type:** Film - **Fi1m ID:** minions-and-monsters - **IMDb ID:** tt32890033 - **TMDB ID:** 1315772 - **Wikidata ID:** Q127605787 - **Same entity:** https://www.imdb.com/title/tt32890033/, https://www.themoviedb.org/movie/1315772, https://www.wikidata.org/wiki/Q127605787 **Fi1m score: 70** · Critics 72 from 10 reviews *In a sentence:* Small yellow men rediscover the silent film, then remember they are Minions and start shouting > Pierre Coffin’s third standalone Minions film sends its yellow chorus to 1920s Hollywood and, for about an hour, has more ideas about cinema than we expected. Then it becomes the film it always was. Still the best of them. ## Synopsis The Minions, voiced as ever by their director Pierre Coffin, arrive in Hollywood in the 1920s, when films are silent and the studios are still working out what a film is for. The small yellow horde finds its way into the picture business and, briefly, to the top of it. Hollywood, as the tagline has it, has a monster problem. Trey Parker voices Goomi, Allison Janney is Olivia and Jesse Eisenberg is Dort; Christoph Waltz, Jeff Bridges, Zoey Deutch, Bobby Moynihan and Phil LaMarr fill out the lot, and George Lucas turns up as himself. Coffin directs from a script he wrote with Brian Lynch. It runs 90 minutes and carries a U certificate. ## Review The Minions have been to the Sixties, to the Seventies and to the villain convention circuit, and each time the joke was the same: they are small, they are many, they speak a language made of soup and Spanish, and they break things. *Minions & Monsters* has the sense to put them somewhere the breaking means something. Pierre Coffin, who has directed these creatures and done their voices since *Despicable Me* (2010), sets them down in Hollywood in the 1920s, when the pictures did not talk either. That is the one good idea the series has ever had about itself, and for an hour Coffin and his co-writer Brian Lynch follow it properly. The first half is the film to see. A horde that communicates by gesture and noise turns out to be perfectly built for silent comedy, and Coffin knows it. The gags come from the mechanics of early filmmaking, from cameras and sets and the people who get paid to stand in front of them, and they are pitched so that a child laughs at the fall while an adult recognises what is being fallen from. The town itself is drawn with more care than anything in the previous films: the backlots, the offices, the feeling of an industry inventing itself in a hurry. We laughed, properly and often, and then felt slightly caught out, because we had come in braced for ninety minutes of banana jokes. The voices are cast well and used unevenly. Christoph Waltz purrs as if every sentence has a contract attached. Allison Janney’s Olivia is the sharpest thing in the film whenever she is on screen. Trey Parker, as Goomi, gets the tone the film is after, gleeful and a little unkind, and Jeff Bridges plays two parts, Frank and Elwood, with the same easy rumble for both. Jesse Eisenberg does his nervous patter as Dort. George Lucas voices George Lucas, which is the kind of gag that sounds better in a meeting than on a screen, and it is over quickly. The second half takes a turn we will not describe, except to say that it is louder. The creature designs are good, big and strange and pleasingly unlike the Minions themselves, but from the midpoint on the film has one mode, which is chaos, and it stays in it. Gregory Perler’s cutting, which in the first half had the timing of a good silent two-reeler, speeds up until it is simply fast. John Powell’s score does the same, swelling under every chase to tell us how exciting this is, when the first half had trusted us to notice on our own. We were not bored, exactly. We were tired, in the way a parent is tired at the end of a birthday party, and we were a little cross that a film which had found something better had let it go. The Minions themselves remain what they have always been, and the film’s cleverest move is to make that the story. Their rise and fall in the picture business is played as a joke about talent, or the lack of it, and about how easily a town falls in love with a novelty. It is not deep. It does not need to be. But when the second half arrives, the film stops making that joke and starts making the older, louder one, and we missed the difference. Against the series’ own standard this is a clear step up. *Minions* (2015) and *Minions: The Rise of Gru* (2022) were sketch reels with a plot attached; this has a place, a period and, for a while, a subject. Most critics have said much the same, and we agree with them. The lone dissenting voice finds the Hollywood setting a promise the film breaks, and we would not argue with the diagnosis, only with the severity: an hour of good is an hour of good, whatever follows it. Take the children. Stay for the first half with your full attention and let the second wash over you, which is roughly what it wants. It runs 90 minutes and carries a U certificate. *Fi1m score 70, published 9 September 2026.* ## What the critics say The reviews are largely warm, and several critics call this the best of the standalone Minions films. The praise clusters in one place: the 1920s Hollywood setting and its steady run of nods to silent cinema, which most reviewers say gives the usual slapstick a shape it has lacked. The voice cast and the monster designs draw approving mentions, as does the world building of the period setting. The reservations cluster too. Variety and The Hollywood Reporter both feel the film is at its sharpest in the first half and loses momentum once the monsters arrive and the pace turns frantic, and The AV Club finds the slapstick disjointed in places. The spread is otherwise narrow, with one clear dissenter: The Guardian argues the promising setup gives way to repetitive franchise chaos and that the attempt to give the Minions pathos is undone by cluttered plotting. Nobody else is that severe. ## Straight answers **Is Minions & Monsters worth watching?** *Minions & Monsters* is worth watching for families with young children, and we scored it 70, the highest of the standalone Minions films. The first hour, set in silent-era Hollywood, is properly funny for adults as well as children; the second half turns into the loud chaos the series has always run on. Watch the first half closely and let the rest wash over you. **How long is Minions & Monsters, and what is it rated?** *Minions & Monsters* runs 1h 30m and is rated PG by the MPA in the US. It is an adventure and animation film. **Where can I watch Minions & Monsters in the US?** *Minions & Monsters* is available to rent from Amazon Prime Video from $19.99. Availability is checked daily; the links above go straight to each service. **How does Minions & Monsters compare to Singin' in the Rain?** *Minions & Monsters* and [*Singin' in the Rain*](https://film.one/film/singin-in-the-rain) are both comedies about Hollywood at the moment films began to talk, but the earlier film is the better one by a wide margin. Donen and Kelly's musical keeps its comic timing to the end, where the Minions film loses its nerve halfway and reverts to noise. Take children to the Minions; take everyone else to the Kelly. **What should I watch after Minions & Monsters?** After *Minions & Monsters*, try [*Singin' in the Rain*](https://film.one/film/singin-in-the-rain) (1952, Fi1m 93): The best film about Hollywood learning to talk, and the funniest. Then [*The Artist*](https://film.one/film/the-artist) (2011, Fi1m 82): A silent film about the end of silent films, with a very good dog; and [*Hugo*](https://film.one/film/hugo) (2011, Fi1m 76): Scorsese’s children’s film about the birth of cinema, patient where this one is frantic. ### Reviews we read (13) - **Los Angeles Times**, Amy Nicholson (85/100, inferred): The review calls it a delightful homage to classic Hollywood silent films. It praises the clever nods to early cinema and the anarchic storytelling that entertains both kids and cinephiles. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-07-01/minions-monsters-review-pierre-coffin-jesse-eisenberg-jeff-bridges-trey-parker-animation) - **Radio Times**, James Mottram (4/5): The critic calls it a charming, frequently funny adventure that is the best standalone Minions outing yet, praising the thick and fast movie references, fabulous voice cast and visual gags aplenty. [Read](https://www.radiotimes.com/movies/minions-and-monsters-review/) - **The New York Times**, Brandon Yu (80/100, inferred): The critic finds it easier to embrace the Minions' gleeful hyperactivity than to dismiss the franchise. They single out the film's surprisingly uncynical and imaginative approach as the best in the series. [Read](https://www.nytimes.com/2026/07/01/movies/minions-and-monsters-review.html) - **Time Out**, Phil de Semlyen (4/5): The critic finds it far more fun and inventive than prior entries in the franchise, a helter-skelter third spinoff with a barrage of giggles and an unexpected movie history lesson set in 1920s Hollywood. [Read](https://www.timeout.com/movies/minions-and-minions-review-2026) - **Variety**, Guy Lodge (75/100, inferred): The critic sees it as a creative high for the series, especially in its first half with cinephile gags and slapstick. They note it loses some momentum later but remains a fun, willful entertainment. [Read](https://variety.com/2026/film/reviews/minions-and-monsters-review-1236786767/) - **Empire**, John Nugent (70/100, inferred): The critic sees the film as more of the same juvenile Minions antics but with an improbable love letter to movies woven in. They single out the affectionate references to classic Hollywood films and storytelling for praise amid the usual slapstick. [Read](https://www.empireonline.com/movies/reviews/minions-monsters/) - **The AV Club**, Jesse Hassenger (B-): The critic notes it's a step up from previous Minions films due to its cinema history framework and monster designs, but criticizes disjointed slapstick and some nonsensical elements. Praises the homages to silent films and overall charm for movie fans. [Read](https://www.avclub.com/minions-and-monsters-review) - **The Guardian** (35/100, inferred): The critic finds that the film’s promising setup in 1920s Hollywood quickly gives way to repetitive franchise chaos and fails to deliver emotional depth. The attempt to give the Minions pathos and artistic ambition is undermined by cluttered plotting and a return to familiar slapstick without insight. [Read](https://www.theguardian.com/film/2026/jun/30/minions-monsters-review-a-smart-premise-descends-into-more-of-the-same) - **Screen Daily**: The critic praises the breathless knockabout comedy and outstanding, textured world building of 1920s Hollywood while noting the Minions remain loveable and watchable with gags that mostly land. [Read](https://www.screendaily.com/reviews/minions-and-monsters-review-the-half-pint-heroes-return-for-a-gleefully-anarchic-animation-set-in-1920s-hollywood/5218168.article) - **The Hollywood Reporter**, Frank Scheck: The critic finds the first half a sophisticated love letter to early Hollywood with clever gags and references, but it devolves into freneticism in the second half with monsters. Praises the satirical humor and visual gags in the initial part. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/minions-and-monsters-review-1236633838/) - **Vulture**: The critic, new to Minions films, enjoys the love letter to cinema with references to film history and physical comedy, seeing it as both earnest and parodic, resisting conventional endings until the end. [Read](https://www.vulture.com/article/why-shouldnt-the-minions-make-a-love-letter-to-cinema.html) - **Deadline**, Damon Wise (75/100, inferred): The critic finds it an enjoyable kid-friendly slapstick comedy full of anarchic energy. They single out its deep dive into Hollywood history and cine-literate references as sophisticated window-dressing for the fun. [Read](https://deadline.com/2026/06/minions-and-monsters-review-pierre-coffin-allison-janney-trey-parker-1236969888/) - **Collider**, Charlie Ridgely (7/10): The critic calls it the best film in the Minions franchise by a wide margin, praising its slapstick humor, meta Hollywood homage, and confident dark comedy tone that feels true to the characters. They single out the laugh-out-loud set pieces and the film's self-aware narrative about the Minions' rise and fall in entertainment. [Read](https://collider.com/minions-and-monsters-movie-review-illumination-despicable-me-franchise/) ## Details - **Director:** Pierre Coffin - **Director:** Pierre Coffin - **Writer:** Brian Lynch, Pierre Coffin - **Editor:** Gregory Perler - **Music:** John Powell - **Producer:** Chris Meledandri, Bill Ryan - **Cast:** Pierre Coffin as The Minions (voice); Trey Parker as Goomi (voice); Christoph Waltz as Max (voice); Allison Janney as Olivia (voice); Jesse Eisenberg as Dort (voice); Jeff Bridges as Frank / Elwood (voice); Zoey Deutch as Debbie (voice); Bobby Moynihan as Phillips (voice) - **Runtime:** 1h 30m - **Certificate (MPA):** PG - **Release (the US):** 1 July 2026 - **Genres:** Adventure, Animation, Comedy, Family, Fantasy - **Budget:** $85 million - **Box office:** $506 million - **Trailer:** https://www.youtube.com/watch?v=V-O-uBaHk3c ## Where to watch in the US - Amazon Prime Video: rent $19.99, uhd - Amazon Prime Video: buy $29.99, uhd *Checked 2026-09-10.* Also available in: AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, HR, IE, IN, IT, MX, NL, NO, NZ, RO, RS, SE, UA, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Singin' in the Rain* (1952), Fi1m 93: The best film about Hollywood learning to talk, and the funniest. — [Fi1m page](https://film.one/film/singin-in-the-rain.md) - *The Artist* (2011), Fi1m 82: A silent film about the end of silent films, with a very good dog. — [Fi1m page](https://film.one/film/the-artist.md) - *Hugo* (2011), Fi1m 76: Scorsese’s children’s film about the birth of cinema, patient where this one is frantic. — [Fi1m page](https://film.one/film/hugo.md) - *Frankenweenie* (2012), Fi1m 79: Tim Burton’s black-and-white monster comedy for children, gentler than it looks. — [Fi1m page](https://film.one/film/frankenweenie.md) - *Despicable Me* (2010), Fi1m 74: Where the Minions began, before anyone thought they could carry a film. — [Fi1m page](https://film.one/film/despicable-me.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/minions-and-monsters