Chaos and Chuckles: Despicable Me 4 Unleashes Illumination’s Minion Mayhem

Despicable Me 4, released July 3, 2024, by Universal Pictures and Illumination, is a $100 million chaotic romp that raked in $971 million worldwide, landing as the fourth-highest-grossing film of the year. Directed by Chris Renaud, with Patrick Delage as co-director, it picks up with Gru (Steve Carell), now an Anti-Villain League (AVL) agent, juggling family life with Lucy (Kristen Wiig) and their girls—Margo (Miranda Cosgrove), Edith (Dana Gaier), and Agnes (Madison Polan)—plus new baby Gru Jr., a pint-sized terror who delights in tormenting dad. The plot kicks off at Gru’s Lycée Pas Bon reunion, where old rival Maxime Le Mal (Will Ferrell) unveils cockroach-hybrid enhancements and a vendetta. After Gru arrests him, Maxime escapes with girlfriend Valentina (Sofía Vergara), forcing the family into a safe house in Mayflower, a Stepford-esque suburb.

The chaos erupts as subplots collide—Gru bonds with Gru Jr., Lucy flounders at a hair salon, the girls dodge school bullies, and neighbor Poppy (Joey King), an aspiring villain, blackmails Gru into a heist. Meanwhile, five Minions morph into Mega Minions—superhero goofs with powers like stretchiness and flight—unleashing havoc. Mike White and Ken Daurio’s script is a piñata of ideas, bursting with gags but light on coherence; Rotten Tomatoes (56%) notes it’s “overstuffed yet enjoyable.” Chuckles shine—Gru’s “Honey badger don’t care!” rant, Minions botching heroics—but the sprawl dilutes stakes. Shot in Illumination’s Paris studio amid COVID, its vibrant animation dazzles, though X posts lament a series-to-film pivot that left seams visible.

It’s a sugar rush—fast, funny, and frantic. Critics like Roger Ebert’s Matt Zoller Seitz praised its “dumb, random laughs,” kids at screenings cackled, but San Francisco Chronicle’s Zaki Hasan sighed, “Talk about despicable.” At 94 minutes, it’s a Minion-fueled blast—chaotic, yes, but a franchise cash cow still mooing loud.

The cast is Despicable Me 4’s chaotic glue, a mix of old hands and fresh faces. Steve Carell’s Gru remains the heart—his nasal “Oh nooo” and dad-joke flailing (sock-on-foot gags with Gru Jr.) keep him a lovable goof; NYT’s Brandon Yu calls him “Silly Daddy supreme.” Kristen Wiig’s Lucy, now a harried mom and AVL agent, shines in a salon fiasco—her head-on-fire bit is a chuckle peak, though Times (UK)’s Ed Potton notes she’s “criminally underused.” The girls—Margo’s teen sass, Edith’s karate kicks, Agnes’s unicorn obsession—get moments, but Madison Polan’s Agnes (recast again) steals with her baby-talk charm.

Will Ferrell’s Maxime Le Mal, a French-accented cockroach-man, aims for menace but lands flat—Cinema Files’ Dan skips his “Megamind charm,” and Sofía Vergara’s Valentina, all sass and stiletto, barely registers. Joey King’s Poppy, a braces-clad teen villain, injects spunk—her “Let’s rob something!” glee sparks chaos with Gru. The Mega Minions, voiced by Pierre Coffin, are the riotous core—cone-headed flyers and elastic klutzes parodying Marvel; The Movie Buff loved their “hilarious spoof.” Steve Coogan’s Silas Ramsbottom and a villain reunion (Trey Parker’s Balthazar cameo) add nostalgia. The ensemble’s a whirlwind—Gru Jr.’s nose-bite, Lucy’s karate chop—but Letterboxd gripes it’s “all over the place.” Still, their antics fuel the chuckles, a chaotic crew carrying the load.

Visually and sonically, Despicable Me 4 is a chaotic candy store, bursting with Illumination’s flair. Kyle Balda’s animation pops—Mayflower’s pastel perfection contrasts Lycée Pas Bon’s gothic gloom, all in crisp CG. The chaos dazzles—Mega Minions crash through suburbs, Maxime’s cockroach gun zaps, a honey badger chases Gru in a treehouse heist. Practical roots (storyboarded stunts) blend with VFX—Forbes’ James Kendrick lauds its “ample humor avenues”—though HuffPost’s Candice Frederick flags choppy crowd shots. The Mega Minions’ Fantastic Four nod, pitched since Despicable Me 2, lands with stretchy, fiery glee; Q Network’s “earned stripes” nod fits.

Heitor Pereira’s score pumps—brassy and bouncy, with Pharrell Williams’s “Despicable Me” theme weaving through. “Sweet Child o’ Mine” (karaoke gag) and Minion-speak “poop” riffs (butt flashes included) spark chuckles—Common Sense Media warns of rude humor, but kids love it. Sound design—crunching metal, Gru Jr.’s wails—nabbed an Oscar nod, per early buzz. The chaos peaks in a prison breakout—villains dance, Minions flail—but Kermode and Mayo sigh it’s “not Minions 2.” Flaws? The multi-plot mash feels stitched; Film Frenzy’s Matt Brunson calls it “uninspired ricochet.” Still, it’s a visual and sonic storm—bright, loud, and unmissable.

Despicable Me 4’s strength is its chaotic glee—a franchise flex that doesn’t overthink. Carell’s Gru, Wiig’s Lucy, and the Minions’ antics deliver; Christian Spotlight praises “heartwarming family moments” like Gru Jr.’s arc from foe to fan. The Mega Minions and Poppy’s heist inject fresh chuckles—The Cinema Files’ “better than expected”—and its animation stuns, per NYT’s “high-octane B-plots.” Themes of teamwork and forgiveness peek through; an A- CinemaScore shows family love. At $971 million, it’s a 2024 titan—The Numbers notes its five-day $120 million debut—proof of Minion mania.

Weaknesses nag. The plot’s a tangle—Maxime’s revenge, Gru’s cover, Minion heroics—lacking stakes; RT’s “piñata full of candy” rings true but thin. Ferrell and Vergara underwhelm—IMDB users call them “weakest villains”—and the series fatigue shows; Discussing Film’s “played out” vibe echoes X posts. Legacy-wise, it’s no Despicable Me 1—less heart, more noise—but it keeps the train rolling toward a 2026 Minions sequel. At 7/10, it’s a chaotic, chuckle-packed hit—flawed, fun, and fiercely watchable. For fans or kids, it’s a summer must; for purists, a loud shrug.