Minions: The Rise of Gru (2022)

O'Sullivan finds the film frequently glorious and a strong improvement over the second and third installments. She praises its visceral animation and especially Alan Arkin's vocal performance, while faulting Julie Andrews's accent and a familiar wide-eyed gag.

The critic finds the film considerably more enjoyable than expected, though it makes little impact on the Minions’ larger story. The Minions’ physical comedy and Pierre Coffin’s voice work are singled out as its chief strengths.

Ide finds the film exhausting but extremely funny, praising its irrepressible goofball energy. She singles out the barrage of sight gags, puns and cartoon violence as a source of laughs.

Richards finds it a reliably entertaining, undemanding instalment that delivers what fans expect. He praises the silly incidental jokes and the playful use of the 1970s setting.

The review presents the film as an appropriately silly origin story. It singles out Gru’s slapstick Minion companions as part of the appeal.

Scheck finds the film familiar but entertaining, with plenty of clever gags. He praises its ’70s-inspired humor and soundtrack, though the extended final-act fights and chases grow wearisome.

Debruge finds the sequel a delightfully silly, feel-good comedy, though its plot takes shortcuts and the climax feels overstuffed. He praises the inventive slapstick and character animation, especially the cleverly staged kung fu training gags.

The reviewer gives the film a three-star verdict, suggesting a mixed response. The available review text describes the 1970s setting and the Minions’ kung-fu training but does not reveal what the critic singles out for praise or complaint.

The critic finds the film silly and fun, but fleeting. They single out its shortage of plot as a drawback.

Erbland finds the sequel messy and overstuffed, but likely to delight its young target audience. She praises the Minions’ goofy charm while faulting the film’s weak, fragmented subplots and lack of freshness.

Jenkins finds the film a chronic bore, arguing that Gru’s story leaves the Minions with too little to do. He singles out the Kung Fu sequence as one of the few moments that raises a smirk.

Ebiri finds the film passable but not inventive enough to make its deliberately silly comedy work. He praises its visual style and frantic animation, while criticizing the jokes as middling and overfamiliar.

Macnab finds the film occasionally funny but ultimately disjointed and overlong. He praises Pierre Coffin’s Minion voice work and visual ingenuity, while faulting the incoherent story.

Walsh finds the film bewilderingly bad, a chaotic and nonsensical entry in the franchise. She gives limited credit to its 1970s references and needle drops, but says they cannot redeem the experience.

The critic finds it a huge amount of fun, while noting that its plot is thin. They praise the well-judged comic set pieces and colourful characters, especially the Minions and the Vicious Six.

Amidon finds the film hectic and overstuffed, but ultimately sweet and surprisingly enjoyable. She praises its vivid, detailed visuals and the Minions’ physical comedy and loyalty.

McCarthy finds the film reasonably amusing but says it overstays its welcome and feels driven by franchise economics rather than inspiration. He praises its sharp, imaginative visuals and its cheeky counterculture humor.

The critic finds the familiar Minions formula entertaining, though it offers few surprises. The film’s strongest feature is its playful blend of Blaxploitation and Bruce Lee-inspired action, especially the kung-fu sequences and larger-than-life characters.

The critic finds the film tedious, formulaic and creatively hollow. They single out its 1970s production design and some setting-based humor as bright spots.