Film Name: 小黄人大眼萌 / Minions
A gang of scoundrels from Orlando arrives in Britain with the audacious plan to seize Queen Elizabeth’s crown—and her throne—along the way. Only America could concoct such hegemonic logic. America shows no respect for Britain, mocking its longest-reigning monarch without restraint—even relegating her to a dive bar. The film subtly satirizes the British for their rigid office routines and dogmatic afternoon tea rituals. This joke seems to have gone a bit too far.
The Minions’ journey is fundamentally a quest for hegemony. Thus, regardless of which villain they ultimately serve, under the film’s strong American power dynamic, their ultimate patron always reverts to America itself. It is precisely through American cultural hegemony that the Minions have been exported worldwide, isn’t it?
The entire film feels like a carnival, yet after the revelry, little of lasting emotional resonance remains. For instance, the portrayal of Gru—the world’s most despicable villain in Despicable Me—as possessing a profoundly kind heart delivers a powerful emotional punch. This depth is entirely absent in the Minions films. Villains are simply evil, the populace is numb, and beyond their collective cuteness, the Minions seem to offer little else.
That said, the film isn’t entirely devoid of emotional depth. Moments like Kevin’s protective embrace and kiss after growing giant, or the Minions’ heartbreak upon believing Kevin is dead, offer rare glimpses into their emotional bonds. We’ve always wanted to see more than just their cat-and-mouse-style physical banter. Unfortunately, the film treats these moments as mere garnishes rather than developing them into meaningful threads.
Kevin grew larger, transforming from a Minion into a Giant Minion. I believe this is the most crucial plot point in the film. The Minions’ survival logic is rooted in their diminutive stature and apparent vulnerability—they need protection and must rely on stronger beings. Thus, they constantly seek powerful creatures to serve as their patrons. They position themselves as dependents and helpers, a role that even carries a hint of servility. But Kevin, transformed into a giant, suddenly possesses the physical advantage the Minions have always dreamed of but never had. He is no longer vulnerable; he can now protect himself and his kind. He completely shatters the Minions’ survival logic.
Unfortunately, the film barely explores Kevin’s transformation into a giant Minion—the very embodiment of a Minion’s heroic dream. Having suddenly gained immense power, wouldn’t he harbor “unthinkable ambitions”? Like becoming the ultimate villain himself—thoughts the regular Minions dare not imagine. Most crucially, the ultimate challenge should never be resolved by the giant Minion. Instead, it must be overcome by Kevin—the giant Minion who returns to his vulnerable, helpless self. Only then does the film demonstrate that true strength lies not in physical might, but in inner courage and intellectual wisdom. Even a small body can accomplish the ultimate mission; relying on strength is less effective than relying on oneself.
Thus, the Minions’ journey of self-rescue begins with Kevin’s departure and ends with the giant Kevin’s outburst. Ultimately, they inevitably revert to their old path of clinging to strength. Of course, perhaps this is precisely the survival strategy the Minion tribe has truly grown accustomed to.
In short, as a spin-off or prequel to the “Despicable Me” series, “Minions” abandons emotional depth, becoming merely a celebration of the weak under the logic of hegemony.
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