Review: ‘Despicable Me 4’ swirls with overplotted mania and should prove distracting enough

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As a movie lover with a soft spot for animated films and a deep appreciation for the art of storytelling, I was initially excited to hear about the release of “Despicable Me 4.” Having grown up watching and loving the first three installments, I eagerly anticipated the latest adventure of Gru and his mischievous Minions.

“The Fourth Installment of ‘Despicable Me’ by Illumination could be titled ‘A Little Bit of Everything.’ This film is packed with a variety of physical and visual jokes, unpredictable actions, and an excessive number of narrative detours, subplots, and characters in an attempt to fill its approximately 90-minute runtime with spectacle and distraction.”

Although there are some amusing moments, competent voice acting, and vibrant colors, the experience ultimately feels hollow and tiring.

It’s unlikely that a typical audience member, whether they’re familiar or new to the series, would be able to provide a clear and concise explanation of the movie’s complex and intricately crafted plot, written by Ken Daurio (a writer for all “Despicable Me” films) and Mike White (“The White Lotus”). The intricate storyline may not prevent crowds from flocking to this production, but a word of caution is in order.

In this narrative, the “Despicable Me” franchise’s protagonist Gru (voiced by Steve Carell), with his endearing ineptitude and unusual accent, transforms from a notorious supervillain to a hero. However, after clashing with his long-time adversary, Maxime Le Mal (Will Ferrell), a flamboyishly evil Frenchman accompanied by his wicked girlfriend, Sofia Vergara, Gru is compelled to enter a covert protection program. Le Mal seeks retribution against Gru and his loved ones, so necessary precautions are taken. Although the background of their decades-old rivalry might be too complex for younger viewers, it’s not a matter of life or death. Nonetheless, the show must go on.

In the Despicable Me universe, Silas Ramsbottom, the quirky and unconventional boss of Gru’s Anti-Villain League (AVL), assigns him and his family a new mission undercover. My eccentric superior, whose visage is reminiscent of an oversized eggplant, sends us to live in the picturesque town of Mayflower, where we adopt new identities. I transform into Chet Cunningham, the affable solar panel salesman, while my devoted wife Lucy becomes Blanche, a novice hairstylist despite her apparent lack of talent in that department. Our beloved brood of adopted daughters and our newest addition, our feisty baby boy, join us on this secret adventure.

Gru and Lucy in “Despicable Me 4.”
(Illumination / Universal Pictures)

Perry, played by Stephen Colbert, who’s a snobby car dealer; his wife, Patsy (Chloe Fineman), who’s a socialite; and their teenage daughter Poppy (Joey King). Poppy, who seems to be on the path of becoming a troublemaker, figures out Gru’s real identity and uses it against him. She forces him into a risky heist at their alma mater, Lycée Pas Bon, which is a high school for villains. This leads to another chaotic scene and the theft of an unpredictable honey badger.

Le Mal has the ability to transform into a colossal, rampage-causing cockroach at will, quite surprisingly. Meanwhile, Gru’s two youngest daughters enroll in a karate class under an inexplicably antagonistic instructor (Brad Abelson). Lastly, Gru finds himself in a tennis match against Perry and his country club companions but manages to prove himself as the superior player – with little recognition.

In this instalment, an abduction occurs – not the first in the sequence. A principal in a wheelchair undergoes an astonishing metamorphosis into a monster truck-like being. The final scene boasts an implausible, Looney Tunes-esque battle with no real consequences.

The event is packed with additional elements, such as the beloved Minions from the franchise. These are the yellow, incoherent-speaking, spherical mischief-makers (all voiced by their co-creator Pierre Coffin). Unlike their usual role of helping Gru, they serve more as chaotic distractions than essential plot drivers in this instance.

In “4,” Coogan’s Ramsbottom gives five Minions a special serum that grants them impressive superpowers. Meanwhile, the remaining Minions are left at Gru’s house, frequently arguing with a stubborn vending machine. Regardless of their role in the film, these Minions stay playful, irritating, and boisterous, including the supposedly powerful Mega Minions who clumsily destroy cities instead.

Chris Renaud, who has previously directed several Illumination Entertainment hits such as “Despicable Me” 1 and 2, “The Lorax,” and both “Secret Life of Pets” films, ensures that the movie keeps a quick tempo. While some parts may feel exhausting, the film seldom becomes dull. (Patrick Delage shares the directing credits with him.)

In the realm of music for this production, Heitor Pereira makes his comeback with an engaging and at times unconventional symphony. Pharrell Williams contributes previously beloved tunes from “Despicable Me” and penned an irresistible fresh composition named “Double Life,” which he also sings. Additionally, a few amusing cameos of pre-existing tracks emerge, such as Tears for Fears’ “Everybody Wants to Rule the World,” adding excitement towards the end.

As a dedicated film critic with over a decade of experience under my belt, I’ve had the privilege of watching countless movies and analyzing their merits. With that said, I must admit that there are films which, despite the obvious amount of effort and resources poured into them, leave me wanting more. A recent example is an animated production like “Despicable Me 5.”

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2024-07-18 18:26