Now that the Minions have met Gru, you’d think that maybe Despicable Me: The Rise of Gru would have made more sense. The same cannot be said with Minions 2, as the result is so scattershot nobody gets what they want. At least in the Despicable Me trilogy you could expect both would be balanced, with Gru and his daughters maintaining prominence. Looking at the title itself, Minions: The Rise of Gru calls out its major problem before anyone even sees the movie: not all Minions fans want to see Gru’s story, and vice versa. This is a movie that wants to be a Despicable Me sequel, but isn’t allowed to be due to the branding power of Minions. Yet for as talented as this cast is, barely any time is spent with most of those names mentioned, and you’ll probably be disappointed to learn that such a killer roster isn’t given enough time to be recognized in this mess. Keep in mind, this is a movie that packs its cast with the likes of Lucy Lawless, Jean-Claude Van Damme, Dolph Lundgren, Danny Trejo, Michelle Yeoh, and Dame Julie Andrews. Showcasing the sweetness that Despicable Me’s protagonist would lose and regain in his own adventures, those moments simply come out looking the best when sifting through everything else Minions: The Rise of Gru has to offer. Next is Evil Panic.Perhaps the one and only prospect that would have made sense is the mentorship between Gru and recently ousted Vicious 6 leader Wild Knuckles (Alan Arkin). Why should they? They’ll not pick at the quality of the jokes either, and just lose themselves in the extraordinary world Collin adapts so well. On the face of it chronological presentation would be desirable as it indicates the progression of a strip as the creators settle into a feature, yet it’s equally justifiable to note this is marketed at children who’ll not care one jot about curation. Interestingly, the strips are very clearly numbered in chronological order, yet Banana’s presentation is random. Older readers may recall 1970s Argentinian cartoonist Mordillo, and there’s a similar sensibility to the material. Occasionally there is some quirky surreal inspiration, such as a joke about why a report is needed, or the early idea of the break room, but for the most part Didier Ah-Koon’s gags don’t match the skill of Collin’s art. Where they work best is with variations on the gag of a Minion displaying an aptitude for a particular discipline, only to be put to work on an extremely dangerous task requiring that skill. Considering the only words are to be found on signs, Collin also does a magnificent job of visually characterising the Minions.įor all the appeal of the art and some decent gags, there’s an all too obvious quality about most of them, along with the occasional lack of clarity to some, which would be largely meaningless without the title. Without knowing the ins and outs of the technology it would appear that the work required for the backgrounds of what are four panel strips is immense. It collects single page gag strips brilliantly constructed in 3-D animation style by Renaud Collin. The Minions have proved to be an irresistible commercial force since their introduction in Despicable Me, graduating to their own film, and now their own series of digest sized graphic novels, of which this is the first.
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