Abigail Johnson is a New York City-based writing intern, screenwriter, actor, and director. Her main focus is women in the entertainment industry and authenticity, especially advocating for diverse storytelling and new perspectives. Abigail loves discovering indie films that may not be seen in a traditional movie theatre, as well as listening to pop music and trying to find the next big artist. Abigail connects to Hollywood Insider’s values of substance over scandal and focusing on compassion and philosophy in her writing at Hollywood Insider. Utilizing writing for good is the main Hollywood Insider value that Abigail connects with, as her main goal is to use her talents for good.
Jul 25, 2024
Fourteen years ago, ‘Despicable Me’ premiered in theatres, winning the hearts of children and adults alike. Audiences all over the world fell in love with Gru, his adopted daughters, and, of course, the minions. ‘Despicable Me’ was huge, and there was no doubt that a sequel was in the works. Fast forward fourteen years, and not only has there been a ‘Despicable Me’ sequel, but two spin-off films that focus on the minions, and a third and fourth film has been added to Gru’s story. With all of the minion mania feeling so far away, audiences are beginning to question the integrity of the fourth film… was ‘Despicable Me 4’ really needed?
The plot largely revolves around Gru’s choice between his family and being a supervillain. When Maxime, Gru’s high school rival, vows to kill Gru at their high school reunion (which feels brutal for a children’s movie), Gru and his family are forced to hide out in a small town under false identities. However, Gru’s cover is blown when the next-door neighbor’s daughter recognizes him and blackmails him to help on a heist. Other plotlines revolve around the adjustments that Agnes, Edith, and Margo must go through in a new place, and Gru’s relationship with his son, Gru Jr.. Of course, it’s not a ‘Despicable Me’ film without the antics of the minions, as a select few minions are given superpowers of their own.
This film features a serious amount of star power, with almost every major television name being a part of this film. Steve Carrell and Kristen Wiig return to the franchise as Gru and his wife, Lucy. Will Ferrell is almost unrecognizable as Maxime, and Sofia Vergara plays his femme fatale girlfriend. Despite Miranda Cosgrove and Dana Gaier returning as two of Gru’s daughters, Edith and Margo, Madison Polan is the latest voice of Agnes. Agnes was originally portrayed by Elsie Fisher, of ‘The Summer I Turned Pretty’ and ‘Eighth Grade’, and then Nev Scharrel portrayed Anges in the third film. Joey King also joins the cast of ‘Despicable Me 4’ as Poppy, the aspiring supervillain who queries Gru’s help.
While the film is a fun continuation of the franchise and an easy way to get the kids out of the house, the fourth film was largely unneeded. The biggest issue that plagues not only the ‘Despicable Me’ franchise but in many children’s films, is on the basis of the plotline. The main conflict does not contribute anything to these characters or call for a need for continuation from these characters.
The structure that the ‘Despicable Me’ franchise has been moving towards is the idea of these one-off problems. A problem is introduced at the beginning of the film that is solved by the end, and the audience knows that the problem will be solved… and that is it. The problem doesn’t contribute to the development of the characters or really call for these characters at all. The exact same plotline could be done with completely different characters and could have brought forth a new franchise on its own. However, due to the nature of the film industry, the business will rely on unneeded sequels to make money, rather than the innovation of an original film.
A fourth ‘Despicable Me’ film did not feel needed…neither did the third. The references to the third film are few and far between, making it only truly necessary to watch the first two films. While it is a children’s film, the characters’ development is still vital to bring integrity to the film. The children haven’t aged and Gru has fought another supervillain who will continue to be irrelevant to the rest of his story if there will be more to his story. The story of ‘Despicable Me’ feels stagnant and widely contributes to the sequel problem in Cinema today. Why create an unneeded sequel that will make money when it first premieres, and forfeit a new idea that would create more longevity in the long run?
‘Despicable Me 4’ was a hard watch, but not in the way that you would expect. Throughout the film, something about the animation felt off. Not that the animation was particularly bad or overly realistic, but possibly too advanced. Since the first film premiered in 2010, it is inevitable that animation technologies continue to develop. However, this film felt too advanced, causing some of the characters to enter an uncanny valley for some audience members. Fans even questioned the integrity of the animation, wondering if the film was AI-generated. Despite, this the film was animated by Illumination. If you go see this movie in theatres, just be prepared for the hyper-realistic Gru to plague your screen.
‘Despicable Me 4’ is entertaining and a fun way to take a trip to the movies, whether you are with or without kids. While the film and certain jokes in the film will pass over the kids’ heads, be prepared for what it is-a kids’ sequel. Do not go into the newest ‘Despicable Me’ movie and expect innovation, but you will be in for a good time.
Cast: Steve Carell, Kristen Wiig, Pierre Coffin, Joey King, Miranda Cosgrove, Sofía Vergara, Steve Coogan, Stephen Colbert, Chris Renaud, Madison Polan, Dana Gaier, Chloe Fineman, Will Ferrell| Director: Chris Renaud | Writer: Mike White, Ken Daurio | Producers: Chris Meledandri, Brett Hoffman | Editing:Tiffany Hillkurtz
Click here to read The Hollywood Insider’s CEO Pritan Ambroase’s love letter to Cinema, TV and Media. An excerpt from the love letter: The Hollywood Insider’s CEO/editor-in-chief Pritan Ambroase affirms, “We have the space and time for all your stories, no matter who/what/where you are. Media/Cinema/TV have a responsibility to better the world and The Hollywood Insider will continue to do so. Talent, diversity and authenticity matter in Cinema/TV, media and storytelling. In fact, I reckon that we should announce “talent-diversity-authenticity-storytelling-Cinema-Oscars-Academy-Awards” as synonyms of each other. We show respect to talent and stories regardless of their skin color, race, gender, sexuality, religion, nationality, etc., thus allowing authenticity into this system just by something as simple as accepting and showing respect to the human species’ factual diversity. We become greater just by respecting and appreciating talent in all its shapes, sizes, and forms. Award winners, which includes nominees, must be chosen on the greatness of their talent ALONE.
I am sure I am speaking for a multitude of Cinema lovers all over the world when I speak of the following sentiments that this medium of art has blessed me with. Cinema taught me about our world, at times in English and at times through the beautiful one-inch bar of subtitles. I learned from the stories in the global movies that we are all alike across all borders. Remember that one of the best symbols of many great civilizations and their prosperity has been the art they have left behind. This art can be in the form of paintings, sculptures, architecture, writings, inventions, etc. For our modern society, Cinema happens to be one of them. Cinema is more than just a form of entertainment, it is an integral part of society. I love the world uniting, be it for Cinema, TV, media, art, fashion, sport, etc. Please keep this going full speed.”
Abigail Johnson is a New York City-based writing intern, screenwriter, actor, and director. Her main focus is women in the entertainment industry and authenticity, especially advocating for diverse storytelling and new perspectives. Abigail loves discovering indie films that may not be seen in a traditional movie theatre, as well as listening to pop music and trying to find the next big artist. Abigail connects to Hollywood Insider’s values of substance over scandal and focusing on compassion and philosophy in her writing at Hollywood Insider. Utilizing writing for good is the main Hollywood Insider value that Abigail connects with, as her main goal is to use her talents for good.
Abigail Johnson is a New York City-based writing intern, screenwriter, actor, and director. Her main focus is women in the entertainment industry and authenticity, especially advocating for diverse storytelling and new perspectives. Abigail loves discovering indie films that may not be seen in a traditional movie theatre, as well as listening to pop music and trying to find the next big artist. Abigail connects to Hollywood Insider’s values of substance over scandal and focusing on compassion and philosophy in her writing at Hollywood Insider. Utilizing writing for good is the main Hollywood Insider value that Abigail connects with, as her main goal is to use her talents for good.
Abigail Johnson is a New York City-based writing intern, screenwriter, actor, and director. Her main focus is women in the entertainment industry and authenticity, especially advocating for diverse storytelling and new perspectives. Abigail loves discovering indie films that may not be seen in a traditional movie theatre, as well as listening to pop music and trying to find the next big artist. Abigail connects to Hollywood Insider’s values of substance over scandal and focusing on compassion and philosophy in her writing at Hollywood Insider. Utilizing writing for good is the main Hollywood Insider value that Abigail connects with, as her main goal is to use her talents for good.
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