In the last 14 years, Gru has certainly been through a lot. The reformed super villain put aside his dastardly ways to become a family man, and now sits pretty with three “gworls”, a wife, and a bouncing baby boy. Life couldn’t be better for the bald-headed former bad guy, but some habits die hard. Such as the desire to embarrass his villain school rival causing said rival to swear revenge against Gru and his entire family, forcing them into their most frightening challenge yet: Life in the suburbs.

Taking the socially awkward Gru and placing him in scenarios where he has to act like a bumbling sitcom dad is a fine premise for the fourth instalment in the Despicable Me franchise. Unfortunately the movie compounds the conceit by adding Gru’s desire to connect with his newborn, as well as turning the moronic minions into superheroes. There’s also the neighbour’s daughter, whom Gru takes under his wing to teach her his ways of thievery and deception.

Too much story spoils the cinematic experience, especially when the film grinds to a halt just to give the minions an opportunity to spout mindless jabber and engage in antics. It can’t be understated what a blight the minions are to the senses, but credit where credit is due: their newfound abilities give the movie a chance to showcase some slick animation and, admittedly, laughs. However, this doesn’t change the fact that Despicable Me 4 lacks a sense of necessity. Nothing that occurs in the film feels very consequential, and despite seemingly taking the characters in new directions, it ultimately feels like more of the same.

I can’t say I would ever watch this film of my own volition, but I must admit it’s not exactly made with me in mind. For the intended audience, they’re sure to be pleased paying full price, or at least asking their parents to. For myself, there’s enough to enjoy to warrant seeing it in the cinema, but only at a discount. A few roller coaster sequences are genuinely entertaining, and for the target audience of kids in 4DX cinema, it was a thoroughly engaging experience from start to finish.

Rating: Half Price

Damian Levy is a film critic and podcaster for Damian Michael Movies. entertainment@gleanerjm.com

Story: Saloni Bagga (Triptii Dimri) gets pregnant with twins conceived through a rare phenomenon, heteropaternal superfecundation, which means there are two biological dads. In a hilarious rivalry, the would-be papas compete to win her heart and fatherhood. Whom will she choose?

Review: In the laugh riot that comes after Good Newwz (2019), Saloni Bagga dreams of culinary stardom and resists her mother’s marriage pressure until a whirlwind romance and marriage with Akhil Chaddha (Vicky Kaushal). While she craves career glory, her husband longs for a family, as his carefree attitude creates friction in their relationship. An incident throws her dreams and job into disarray, forcing them to acknowledge their incompatibility. Divorce ensues, and Saloni seeks a fresh start in Mussourie. There, she has a one-night stand with her boss, Gurbir Pannu (Ammy Virk).

Fate throws another curveball: Akhil reappears, and on the same night, things get tangled again. Six weeks later, a bombshell drops—Saloni’s pregnant with twins, and a paternity test reveals both Akhil and Gurbir are fathers! This unexpected twist sets the stage for a side-splitting battle between the two men, each vying for Saloni’s love and a shot at fatherhood.

Two heroes in a comedic duel for the heroine feels like a familiar rom-com setup. The plot might not surprise you, but the film shines in its outrageous humour. While the script and screenplay remain on uneven ground, director Anand Tiwari and writers Tarun Dudeja and Ishita Moitra understand that laughter is the key ingredient. Jokes and one-liners (by Dudeja) pepper the narrative, ensuring you’ll chuckle even after a supposedly serious scene. The film feels light and breezy, with the cast seemingly having a blast themselves.

Highlights include hilarious self-referential jabs at Karan Johar, from Akhil’s (Vicky Kaushal) possessiveness over a Katrina Kaif poster to Gurbir’s deadpan declaration that he’s “no Manmarziyan’s Vicky Kaushal” (referencing another Kaushal rom-com). These playful nods at Bollywood tropes add another layer of amusement and will crack you up.

The film’s pacing suffers from a rushed first act, as Akhil and Saloni’s romance, marriage, and subsequent split feel underdeveloped. Similarly, Saloni’s fling with Gurbir lacks depth and is unconvincing. While the soundtrack boasts catchy tunes like Raula Raula, Mere Mehboob Mere Sanam, and Jaanam, their rapid-fire placement disrupts the narrative flow. Repetition in comedic situations and a predictable plot further hinder the film, especially in the second half, which feels overstretched.

Vicky Kaushal shines as the self-centred and loud Punjabi who eventually undergoes a satisfying character arc, learning to prioritise Saloni’s dreams. His impeccable comedic timing and energy are matched by Ammy Virk, who holds his own as Gurbir, the other more polished father figure in the chaotic equation. The best scenes are between the duo and their strong chemistry enables the comedy to roll out effectively. Triptii Dimri looks pretty and pulls off emotional scenes but struggles with comedy.

With a hilarious premise and two funny men, this one’s a laugh riot. Even when the plot takes a familiar turn and stretches, the witty dialogues and spot-on comedic timing from the cast ensure you’re consistently entertained.

I’d rush into a tornado to save Glen Powell. Twisters feels like this year’s Top Gun: Maverick, a crowd-pleasing epic theater experience that feels like a throwback summer blockbuster in the coolest of ways. Much like the latter-mentioned legacy sequel, Twisters supersedes its predecessor in just about every way while bolstering new stars and bringing new thrills. 

Twisters follows tornado trackers Kate (Daisy Edgar-Jones) and Javi (Anthony Ramos) who look to test an experimental new tracking system. They come into contact with the charismatic yet reckless Tyler Owens (Glen Powell) and his gang of social-media-driven Tornado wranglers. The film is directed by Lee Isaac Chung, who also directed 2020’s Minari. 

Powell always thrives in the lovable douchebag role. His character in this movie feels like an evolution of Hangman in Top Gun: Maverick. Side note, Powell would make a good Indiana Jones. A handsome, tall, and gruff nerd who’s likable and charismatic. I especially felt this while watching this year’s Hit Man and Twisters only helped to exemplify it. 

Edgar-Jones shines in her first huge role, bringing loads of heart. The romance between Edgar-Jones and Powell was very push-and-pull in a very fresh way. The characterization in this film also really outdoes its predecessor.

I already know that country stuff is gonna pop off when this movie gets really popular. But it was a smart market to capitalize on with how popular country music is now. Artists like Beyoncé and Post Malone tapped into the genre and now so has modern Hollywood.