This is the first entry in the Minions franchise (now up to seven movies) that might be aimed at adults a little more than at children - and maybe not even all adults. Pierre Coffin (who co-wrote, co-directed, and voices the Minions) is French, and this movie is a cineaste's feast of references and allusions.
From the earliest days of short movies to the work of Georges Méliès to the great silent comics - Charlie Chaplin, Buster Keaton, Harold Lloyd - and more, there's lots to spot, and even if you're not a film buff, a lot of the references will probably ring a bell - there's Citizen Kane, Casablanca, The Day the Earth Stood Still, Jaws, and more. Anachronisms are not a concern: when your main cast is gibbering little yellow men, why would they be?
It feels like Coffin is indulging himself, both by tossing in Minions ideas that might not have been worth a full movie and, even more, by paying homage to the history of cinema (the opening travel back in time through various Universal logos is a nice touch). There's lots to enjoy and the pacing is brisk, though there are too many characters and subplots competing for attention.
The Minions, for those who've come in late, are the little yellow creatures who travel in hordes and attach themselves to villains to help them in their dirty work, though it must be said they're neither particularly malicious nor especially competent. They speak in a semi-gibberish that includes vocabulary from multiple languages.
At Universal Studios, tour guide Olivia (Allison Janney) is escorting a group of mostly kids around, past various exhibits including, bizarrely, George Lucas in a glass case (he voices himself). But soon she settles them down to tell the story of the Minions, focusing especially on their time in 1920s Hollywood when silent movies were giving way to talkies.
James is the Minion who dreams of telling stories and Hollywood is the place to be. The Minions cause havoc with an action scene in a western being filmed and director Max (Christoph Waltz, parodying filmmakers like Erich von Stroheim) is horrified but studio bosses Frank and Elmo (Jeff Bridges) love it. The Minions become movie stars, enjoying the adulation and pampering that goes with it.
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But when sound comes in, they find it hard to adjust (remember Singin' in the Rain?) and are tossed aside like other former stars. Sympathetic Max gives them a camera and some encouragement and they decide to make a monster movie of their own. But to do that, of course, they need a monster. And they want a real one, but while that might be great for verisimilitude, it's also very risky.
Things get to be a bit much with the introduction of Dort (Jesse Eisenberg), an alien robot with ambitions to conquer Earth whom the Minions think could be a new boss. Dort is, however, distracted by his feelings for Debbie (Zoey Deutch), a suffragette, who reciprocates them. This is one sub-plot too many, taking up a lot of time and becoming tangential to the main story. Even the monster element, which does directly involve the Minions, seems to get out of control, in more ways than one (worth noting: South Park's Trey Parker provides a voice).
Despite the extraneous material there's plenty to enjoy and Coffin and company don't forget they have to appeal to a wide audience, not just movie buffs. There's plenty of slapstick comedy and lots of other gags and background touches. The early scenes depicting the Minions' pre-Hollywood exploits are highlights.
Stay during the credits for more funny bits, including a cameo from Despicable Me's Gru. And afterwards, maybe explore some of the early cinema celebrated here. Buster Keaton's physical comedy, for example, influenced Jackie Chan and Wes Anderson and is still funny and often breathtaking.