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The Minions have long been beloved characters within the Despicable Me franchise, which holds the title of the highest-grossing animated film series ever. Yet, despite their popularity, they have rarely received much critical acclaim. Their newest adventure, Minions & Monsters, marks the seventh film in the franchise and notably casts the Minions as Hollywood sensations, conquering the big screen in their own right.

Interestingly, this film may blur the lines between fiction and reality, as it stands out as the smartest and funniest Minions movie to date—at least for much of its runtime.

Creative Vision and Direction

Directed solo for the first time by Pierre Coffin, co-creator of the Minions, and co-written with veteran Minions scribe Brian Lynch, the film serves as a heartfelt love letter to the golden age of Hollywood. It doesn’t focus on contemporary Tinseltown but instead transports viewers to the early days of filmmaking. This affection is evident right from the start, with a nostalgic montage showcasing the evolution of the Universal Pictures logo from its inception to the present day.

One of the film’s clever touches includes inserting the Minions into historical footage, Zelig-style, alongside pioneers like Muybridge and the Lumiere brothers, blending animation with cinematic history in a playful tribute.

Story and Structure

The narrative revolves around a framing device set in a Hollywood museum, where an enthusiastic guide played by Allison Janney laments the ignorance of young tourists who do not recognize the Minions' pivotal role in film history. This sequence cleverly allows for a humorous cameo from none other than George Lucas, a highlight that blends humor with reverence.

From there, the story flashes back to the Minions’ frantic quest for a new evil master. Along the way, they face chaotic encounters, including a near-fatal run-in with a giant cyclops. Their journey ultimately leads them to early Hollywood, where they inadvertently disrupt the filmmaking of Max, a character played by Christoph Waltz who embodies the European émigré directors who helped shape the industry.

Strengths

The film’s affection for classic cinema shines through its inventive storytelling and visual gags. The blending of historical references with Minions' trademark silliness creates a unique charm that appeals to both kids and cinephiles. The voice cast, including Janney and Waltz, adds depth and humor, grounding the film’s zaniness with strong performances.

Where It Falters

However, while the first two acts sparkle with wit and heart, the film’s momentum falters as it progresses. The humor and narrative drive, initially sharp and engaging, begin to lose steam, leading to moments where the film feels less inspired and more like it’s coasting on past successes. This unevenness prevents Minions & Monsters from fully capitalizing on its promising premise.

Conclusion

Overall, Minions & Monsters stands out as a clever, affectionate homage to Hollywood’s early days, packed with the silly chaos and cinematic love that fans expect from the Minions. Yet, this is tempered by a gradual decline in energy and originality that keeps the film from reaching its full potential.

For fans of the franchise and those with a fondness for classic cinema, the film offers plenty to enjoy—especially in its playful historical references and standout voice performances. But for others, the uneven pacing may make the experience feel less magical by the end.

In essence, Minions & Monsters is a delightful romp until it isn’t, balancing fun and cinephilia in a way that’s both entertaining and, at times, frustrating.

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In the upcoming Supergirl installment, audiences will see Kara Zor-El, played by Milly Alcock, join forces with the mercenary Lobo, portrayed by Jason Momoa. This pairing marks a significant moment in the expanding DC Universe overseen by James Gunn and Peter Safran, who have been redefining DC’s superhero landscape with interconnected storylines and layered character arcs.

Plot and Stakes

The narrative centers around Kara’s mission to confront the villainous Krem of the Yellow Hills and a dangerous group of space pirates known as the Brigands. These antagonists pose a formidable threat not just to Kara but to the wider universe she protects. The stakes are further heightened by Kara’s desperate goal to save her beloved super-dog, Krypto, whose life hangs in the balance. This personal motivation adds emotional depth to Kara’s fight, making her struggle more relatable and urgent.

Character Dynamics

The team-up with Lobo adds a fresh dynamic to the story. Lobo, known as DC’s rough-and-tumble antihero who embodies a bad-boy energy reminiscent of Wolverine from Marvel, brings a gritty edge to the series. Jason Momoa’s portrayal promises to deliver that characteristic mix of chaotic charm and raw power, setting up an intriguing contrast with Milly Alcock’s portrayal of Kara, who blends youthful determination with her own brand of strength.

Shared Universe and Continuity

Supergirl’s story is part of a larger, cohesive universe crafted by Gunn and Safran, ensuring that events and characters connect across films. Kara’s journey won’t end with this chapter – it’s confirmed that Supergirl will appear next in Man of Tomorrow, a follow-up to the 2025 Superman film directed by Gunn. This continuity underlines the long-term vision for these characters and cements Kara’s role as a central figure in the DC cinematic universe.

Lobo’s Future

While there’s no official confirmation about Lobo’s next appearances, the character holds promise beyond this one-off role. Jason Momoa has shared that playing Lobo was a dream role for him, underscoring the actor’s enthusiasm and commitment. Given Momoa’s star power and the character’s popularity in comics, it seems likely that Lobo will return, potentially becoming a recurring antihero or wild card in the DC Universe.

Future Villains and Storylines

ComicBook.com asked both Alcock and Momoa about which villains or challenges they’d like their characters to face next. Though no official storylines have been announced, the possibilities are vast within the DC lore.

• For Kara, potential future adversaries include iconic foes like Darkseid, the tyrannical ruler of Apokolips, who is a frequent threat in Superman-related stories.

• Other notable villains such as Brainiac, a cold, calculating alien intelligence, or General Zod, a fellow Kryptonian with personal ties and ideological conflicts, could provide compelling conflicts.

• The Brigands and Krem of the Yellow Hills set a foundation for space-bound adventures, suggesting that future stories might explore cosmic and intergalactic threats.

• For Lobo, his comic history is filled with anarchic and brutal escapades. He could face off against other DC antiheroes or villains, or even clash with cosmic entities, tapping into his mercenary roots and penchant for chaos.

Character Growth and Interactions

Beyond battles, these stories explore themes of identity, morality, and alliance. Kara’s journey as Supergirl is not just about fighting evil but also understanding her place in a larger cosmos and balancing her human emotions with her Kryptonian powers. Lobo’s character, often a lone wolf, might find unexpected camaraderie or conflict working alongside Kara, adding layers to his usual narrative of rebellion and self-interest.

Expanding the DC Universe

This chapter of Supergirl is key in strengthening the shared universe’s narrative threads, tying in with upcoming films and possibly TV projects. It embodies the current DC strategy of blending high-stakes action with character-driven storytelling, aiming to captivate both long-time fans and newcomers.

Behind the Scenes

James Gunn and Peter Safran’s involvement signals a commitment to quality and interconnected storytelling. Their work on other DC properties has been praised for revitalizing characters and introducing fresh tones, which bodes well for Supergirl’s evolution.

Conclusion

In summary, the new Supergirl promises action, emotional stakes, and intriguing character dynamics, especially with the addition of Lobo. As part of a growing DC Universe, the story sets up future adventures and conflicts that fans can look forward to. With Kara’s determination and Lobo’s chaotic flair, this caped caper is poised to be an exciting chapter, even as it hints at more complex battles and alliances to come.

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Hayley Kiyoko’s feature debut, Girls Like Girls, draws inspiration from her 2015 song of the same name, yet the story it tells feels timeless rather than groundbreaking. At its core, it’s a familiar tale—the blossoming attraction between two teenage girls—delivered through a straightforward, intimate style filled with sunlit close-ups. While the film doesn’t revolutionize storytelling or filmmaking techniques, it captures the essence of first love so authentically that the familiar becomes unexpectedly profound.

The narrative is refreshingly simple, almost minimalistic, focusing on moments rather than plot twists. Set in the summer of 2006 in a small Pacific Northwest town—likely Oregon, though subtle visual clues hint at Canada, where the film was shot—it follows Coley (Maya da Costa), a shy, melancholic girl adjusting to life with her dad (Zach Braff’s Curtis) on the town’s outskirts. Coley’s world brightens when she meets Sonya (Myra Molloy), a vivacious, girly girl firmly rooted in the popular crowd.

Despite their contrasting personalities, the connection between Coley and Sonya sparks immediately. They spend their days biking along tree-lined streets, splashing in Sonya’s pool, and giving each other playful makeovers, while their nights are filled with deep, late-night conversations from their separate bedrooms. The meticulous production design by Lindsey Moran brilliantly evokes the mid-2000s teenage experience, from the subtle details of a convenience store sign to the nostalgic sound of AOL Instant Messenger’s signature “bloop” ringing from Coley’s old computer—transporting viewers back to a time when the digital world was smaller, slower, and full of possibility.

Though Girls Like Girls may not surprise with its narrative or style, it shines in its heartfelt portrayal of discovery, vulnerability, and the exhilarating confusion of young love—making the universal feel intimate and new once again.

In “The Death of Robin Hood,” Hugh Jackman transforms the iconic outlaw into a figure far removed from the heroic legends that have long captivated audiences. His appearance alone tells a story of decay and isolation—his flowing gray mane and scraggly, unkempt beard give him the appearance of a wild, mythical creature, like a yeti lost in the fog-laden woods of medieval England. This Robin Hood is not the charismatic leader rallying merry men or the charming rogue stealing from the rich for the poor’s sake. Instead, he is a solitary wanderer, a man adrift in the 13th century countryside, engulfed by oppressive mists that mirror his own internal gloom and despair.

Jackman’s Robin carries the heavy burden of disillusionment. The legend he once embodied has been shattered; he knows now that the heroic narrative—of a noble thief championing justice—is a carefully crafted myth. Beneath that public image lies a ruthless and violent man, a criminal whose notoriety was bolstered more by savvy storytelling than by any true altruism. This revelation haunts him, twisting his sense of self and leaving him tormented by the gulf between who he was believed to be and who he truly is.

Despite his desire to abandon his violent past and seek redemption or at least peace, fate intervenes cruelly. His old ally, Little John, played with an unsettling transformation by Bill Skarsgard, emerges from the shadows to drag Robin back into the violent world he longs to escape. Skarsgard’s Little John is no familiar jovial companion but a grim and almost unrecognizable figure, embodying the harsh toll their lives have taken. This reunion sets the stage for one final confrontation—a desperate battle that ends disastrously for Robin, leaving him gravely wounded.

The film then shifts its focus to a quieter, more intimate setting—a remote priory where Robin lies recuperating. Here, the harshness of the outside world contrasts sharply with the calm, compassionate care provided by Sister Brigid, portrayed with a subtle and restrained grace by Jodie Comer. Her presence introduces a fragile humanity to the narrative, a beacon of kindness that seems almost out of place in Robin’s grim reality. The dynamic between the broken outlaw and the gentle nun adds a layer of emotional complexity, exploring themes of forgiveness, vulnerability, and the possibility of mercy even in a world marred by violence.

This iteration of Robin Hood strips away the romanticism and myth, presenting a raw and unvarnished portrait of a man haunted by his past and grappling with the consequences of his actions. The landscape itself—dark, misty, and foreboding—serves as a reflection of Robin’s inner turmoil, emphasizing the bleakness that permeates the film. It’s a radical departure from the traditional tales, focusing less on adventure and heroism and more on the psychological and moral decay of its central character.

Through Jackman’s intense performance and the film’s somber tone, “The Death of Robin Hood” challenges viewers to reconsider the folklore they thought they knew. It forces us to confront uncomfortable questions about the nature of heroism, the stories we tell ourselves, and the fine line between legend and reality. The film’s slow pacing and heavy mood may test patience, but they underscore the director Michael Sarnoski’s intent to deliver a meditation on the cost of violence and the elusive search for redemption in a merciless world.

In this bleak retelling, there are no easy answers or triumphant victories—only the slow, painful unraveling of a man who once wore the mantle of a hero but now faces the harsh truth of his own mortality and moral ambiguity. The film’s atmosphere, performances, and narrative choices come together to create a haunting exploration of legacy, identity, and the shadows cast by history’s legends.

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They say no statue has ever been built in honor of a critic—a claim often attributed, though dubiously, to Jean Sibelius. It’s a charming myth, but untrue. Take Roger Ebert, for example: a bronze statue of the beloved film critic stands proudly in Champaign, Illinois, celebrating a life dedicated to thoughtful critique. Yet beyond such rare tributes, critics rarely receive the artistic respect they deserve.

What most critics yearn for isn’t a monument, but a work of art that truly honors the spirit of criticism itself. Steve James’ 2014 documentary Life Itself, a heartfelt homage to Ebert, achieved just that. Now, Alison Chernick’s House of Criticism boldly steps into this niche, offering a fresh and intimate portrait—not of a solitary critic, but of a remarkable duo.

Jerry Saltz, the outspoken art critic from New York Magazine, and Roberta Smith, the measured co-chief art critic at The New York Times, have been partners in both life and art criticism since 1992. Together, they navigate the vibrant and often contentious world of contemporary art, their relationship a sincerely sweet and intellectually sharp love story that unfolds through the documentary’s thoughtful lens.

House of Criticism isn’t just a film about art critics—it’s a celebration of the passion, insight, and humanity behind the words that shape how we see art and the world around us.

For fans of Dawson’s Creek, Happy Hours offers a heavy dose of nostalgia, reuniting Katie Holmes and Joshua Jackson in a romantic drama that showcases their enduring on-screen chemistry and effortless middle-age charm. Holmes not only stars but also writes and directs, making this a deeply personal project. Yet despite the warmth between the leads, the film struggles under the weight of contrived characters and forced situations that often leave viewers shaking their heads in disbelief.

Right from the start, the film signals its lofty ambitions with an onscreen quote from philosopher Alan Watts. This is only the beginning of Holmes’ attempts to infuse the story with intellectual gravitas, further emphasized by nods to poets Neruda and Rilke. However, these literary shout-outs mingle awkwardly with a Woody Allen-esque sensibility, making the film feel more like an homage than an original voice.

Set amidst the iconic and picturesque streets of Manhattan—from the lush expanses of Central Park to the bustling corners of Chinatown—the film uses its locations as a character in their own right. The city’s recognizable landmarks add visual appeal, though the backdrop sometimes feels like a postcard rather than a lived-in world.

Holmes portrays Liz, a recently divorced photojournalist who’s turned her back on celebrity culture in favor of capturing authentic moments of everyday life. Her new passion to photograph real people, despite the frustration of her pragmatic agent (Constance Wu), paints her as a romantic idealist navigating a city seemingly infected with a “love virus,” where couples’ affection pops up incessantly around every corner.

The plot thickens when Liz discovers a familiar face in the background of one of her photographs—her former flame Andrew, played by Jackson. Andrew is no ordinary travel writer; he’s the serious, contemplative type, promoting a vision of travel rooted in “global experiences expressed through local conversation.” This sets up a reunion steeped in reflection, longing, and emotional complexity.

Despite the promise of rekindled romance and poignant self-discovery, Happy Hours often veers into territory so staged and unnatural that it undercuts the genuine chemistry between Holmes and Jackson. The result is a film that might charm its nostalgic audience but will likely provoke more eye rolls than heartfelt sighs.