This weekend’s films

“Minions & Monsters”, the most cinephile instalment in the series

The characters from the Despicable Me franchise are back in the spotlight. Among the new releases in cinemas is the intriguing Love Letters

by Andrea Chimento

3 July 2026

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3' min read

Translated by AI

Versione italiana

3' min read

Translated by AI

Versione italiana

Film history buffs are in for a treat: “Minions & Monsters” offers a rather entertaining take on the history of cinema, thanks to the constant references and parody sequences woven into the story.

The third instalment in the ‘Minions’ saga and the seventh overall in the ‘Despicable Me’ franchise, this new feature film is a sort of origin story for the lovable yellow characters, who, in this case, become true pioneers of cinematic language.

From the early days of cinema to the advent of sound, there are numerous references – from the Lumière brothers to Charlie Chaplin, via Méliès and many others – but there are also allusions to later feature films (Steven Spielberg’s name often crops up), such as Orson Welles’ *Citizen Kane*, which features in one of the film’s funniest gags.

Alongside these tributes to the past, the film tells the turbulent and absurd story of how the Minions conquered Hollywood, became film stars, lost everything, unleashed monsters upon the world, and then reunited to try to save the planet from the chaos they themselves had created.

There is therefore a great deal to summarise in order to outline the plot of this somewhat muddled film, but which is also capable of providing some hearty laughs and is perfect for younger audiences who, even if they don’t recognise the films referenced, will probably be amazed and entertained by the slapstick comedy gags of the exuberant little yellow men, who are always ready for any kind of disaster.

“Minions & Monsters” e gli altri film della settimana
Photogallery4 foto

Fast pace with a few falls

Whilst, as mentioned, there is no shortage of truly brilliant and incisive moments of surreal humour, it is also worth noting that the film risks coming across as a long series of sketches that struggle to tie in effectively with one another. After a successful first half, the film maintains a brisk pace but not always the same level of engagement, risking becoming less gripping as the minutes tick by. Less original than the references are the scenes featuring the monsters – co-stars of the film, right from the title – who come across as too stereotypical and lacking in the originality that is absolutely essential for a film and a saga such as this. It remains, however, a film worth watching with the whole family, though it could have been far more coherent and cohesive than it ultimately proves to be by the time the credits roll.

Love Letters

Among the new releases at the cinema is the French film *Love Letters*, the debut feature by Alice Douard. At the heart of the story is Céline, a thirty-two-year-old woman expecting her first child. But she isn’t the one who’s pregnant: in three months’ time, it will be her wife, Nadia, who gives birth to their baby girl. As Nadia’s bump grows, Céline faces a different kind of ‘pregnancy’ – that of her own role, her right to feel like a mother and, above all, her need to be recognised as such in the eyes of others. Her friends, her mother, society and, last but not least, the law. Amidst the flood of documents to sign, people’s suspicious glances and all the evidence she must provide, Céline embarks on a fragile yet courageous journey towards a motherhood that does not stem from the body, but from love, presence and words. Inspired by the director’s personal experience, “Love Letters” explores a complex theme with delicacy, yet with just the right intensity: the journey of a woman who must begin to feel like a mother, despite everything around her. There are a few rather flat sequences and the direction is at times a bit by-the-book, but overall the film displays remarkable sensitivity, and the result is one of the most interesting debut features to have graced the big screen in recent months. The performances of the entire cast are also strong, starting with the lead actress, Ella Rumpf, who was called upon to tackle a role that was anything but straightforward.