While some of this cultural saturation may be related to Universal’s lenient attitude toward copyright enforcement, no less important is Minions’ joyous brand of simple, streamlined comedy, writes the critic Calum Marsh. “In its slapstick zest and nonverbal brio,” he writes, it “achieves a kind of borderless comic nirvana.”
Minions communicate in a mellifluous gibberish, Minionese, that is both indecipherable and strangely coherent. With few punch lines, they instead make use of slapstick action for comic effect. “What the Minion movies end up resembling most is silent-era comedies,” Calum writes.
Perhaps because of this, they have a kind of timelessness — one that does not require incisive pop culture references, celebrity voice artists or even human-oriented subplots. “The Minions just hit gag after gag: pure physical comedy without borders,” as Calum puts it. “And that’s how the Minions took over the world.”
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