The year is by now 1968, which means that the Minions soundtrack will make amiable (if not terribly imaginative) use of the Rolling Stones, The Who, the Doors, the Beatles, The Spencer Davis Group, and the theme song from Hair. (All of the minions are voiced, as before, by director Pierre Coffin, in their distinctive pidgin mishmash of English, Spanish, French, Italian, and sheer gibberish.) So three members of the colony-Kevin, Stuart, and Bob-set out to find a suitably despicable master. The minions are like rogue planets lost in space, bereft of a star to orbit. So the minions retreat to an arctic cavern, where they build their own society in seclusion.īut something is still missing. Caveman, pharaoh, vampire, Napoleon-all are tried on for size as masters, but none quite fit. The minions graduate from fish groupies to dinosaur groupies, before taking an inevitable step backward with the arrival of human beings. A narrator (Geoffrey Rush) explains that while not all minions are created alike-some have one eye, some two some are taller, some rounder-“they all share the same goal: to serve the most despicable master they can find.”Ĭue history. But who’s that there, dangling off the tail fin of a particularly wicked-looking fish? Why it’s a minion, one of those little lemon Tic Tacs of servility who worked for the supervillain Gru in the prior films. Minions, the spinoff/prequel of Universal Pictures’ Despicable Me movies, begins, fittingly enough, at the very beginning: In a protean sea, single-celled creatures compete and evolve, predators and prey growing in tandem.
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