Despicable Me 4 is the franchise at its most comfortable and its most predictable. That is not entirely a bad thing.

Chris Renaud, who directed the original Despicable Me and has shaped Illumination's aesthetic since the beginning, brings the fourth installment home with the same visual energy and gag-per-minute pace that made the franchise a billion-dollar machine. The film is not going to surprise anyone who has seen the previous entries. It does not try to. What it does instead is deliver exactly what families expect: Gru being a slightly incompetent but deeply devoted father, Minions causing chaos in imaginative ways, and a new villain who exists primarily as a foil for the comedy rather than a genuine threat.

The story picks up with Gru and Lucy settled into domestic life with their three adopted daughters and the new arrival of Gru Jr., an infant who seems genetically programmed to torment his father. When Gru arrests his old school rival Maxime Le Mal at a class reunion, Maxime escapes prison and comes after Gru's family. The Anti-Villain League relocates the entire household to a suburban safe house under new identities. This setup gives the film most of its humor: Gru trying to pass as a normal suburban dad while a teenage neighbor named Poppy figures out who he really is and blackmails him into helping her with a villain heist.

Will Ferrell is well cast as Maxime Le Mal, a French villain who has grafted cockroach DNA into himself and can transform others into cockroach hybrids. This is exactly the kind of cheerfully absurd concept that Illumination does well. Ferrell's buffoon energy suits the character, and Sofia Vergara as his girlfriend Valentina is having visible fun with the role. Neither character is remotely threatening, which is by design. This is comedy, not action.

The film runs two subplots in parallel. Five Minions are selected for a superhero experiment called the Mega Minions, which gives them powers ranging from fire to lightning to size manipulation. Their sequences are the most visually inventive parts of the movie and function as essentially standalone Minions shorts within the larger film. The other subplot involves Gru Jr. spending time with Maxime and Valentina after an accidental mix-up, which gives Gru his emotional arc: a father desperate to protect a baby who does not yet like him.

The fatherhood theme is the film's most genuinely effective element. Gru's relationship with Gru Jr. echoes his original journey with Margo, Edith, and Agnes in the first film, where a man who never wanted children discovers that protecting and loving them is his purpose. Carell plays these moments with real warmth underneath the comedic exterior. When Gru risks everything to get his infant son back from the villains, the film briefly earns its emotional beats.

What it does not earn is the subplot about Poppy. Joey King is energetic and funny as the aspiring teenage villain, but her arc does not resolve in a satisfying way. The heist they pull together is clever, and her dynamic with Gru works as comedy, but the film does not give her story a proper conclusion. She appears to be set up for a future installment rather than resolved within this one.

For conservative families this is uncomplicated viewing. Gru is the patriarch who holds everything together by willingness to sacrifice his own comfort, safety, and identity for his family. Lucy is a devoted partner and capable agent. The three daughters are not political mouthpieces. The humor is physical and appropriate for children. There is no moral ambiguity about the villains, no lectures about social justice, and no attempt to insert modern identity politics into a story about a bald supervillain and his yellow assistants.

The box office result says everything: $972 million worldwide. Families showed up. They got what they came for. Despicable Me 4 is not a film that is trying to change anyone's mind about anything. It is trying to make children laugh and give parents 94 minutes of safe, unchallenging entertainment. On those terms, it succeeds.

Trope	Category	Location	Authenticity
The Nuclear Family Protector	TRADITIONAL	Throughout — Gru's entire arc is protecting his wife, daughters, and infant son from a dangerous villain who targets them specifically because of him	Authentic. This has been Gru's defining arc since Despicable Me 1 (2010). The franchise is built on the premise that a supervillain's greatest achievement was becoming a father. The fourth film deepens this by adding a new infant and giving Gru a son who mirrors his own early prickliness.
Fatherhood as Redemption	TRADITIONAL	Gru Jr. arc throughout — Gru's relationship with his infant son mirrors his original arc with the three girls; the baby torments him but Gru risks everything to protect him	Authentic. The franchise's central thesis is that fatherhood transforms Gru from a villain into a hero. Each installment revisits this theme with a new variation. Here it is the infant who does not yet love him but whom Gru loves anyway. This is genuinely touching when played straight.
Industry and Perseverance	TRADITIONAL	Poppy Prescott subplot — a teenager who pursues her goals with resourcefulness and determination, even using blackmail as a tool; her heist planning shows genuine competence	Authentic. Poppy is written as an aspiring villain following in Gru's footsteps, but her drive and self-sufficiency are coded as admirable even if misdirected. The film treats her entrepreneurial spirit with affection.
Comedy Without Agenda	TRADITIONAL	Throughout — physical comedy, slapstick, sight gags, and Minion chaos carry the film with no political subtext	Authentic. Illumination's entire brand is built on politically neutral, broadly appealing comedy. The humor in Despicable Me 4 is not trying to score points on any cultural debate. Cockroach transformations, Minion superpowers, and suburban identity deception are the extent of its ambition.
Devoted Spouse	TRADITIONAL	Lucy and Gru throughout — married couple who function as a genuine team; Lucy is capable and present, not sidelined or tokenized	Authentic. Lucy has been Gru's partner since Despicable Me 2. She is given her own agency in this film while remaining a committed wife and mother. The marriage is presented as functional and loving without irony.
Buffoon Villain (Defanged Threat)	TRADITIONAL	Maxime Le Mal and Valentina throughout — the villains are funny and incompetent rather than genuinely menacing, which allows the film to stay in pure comedy territory	Authentic. Will Ferrell and Sofia Vergara play the villains as delightful absurdist comedic characters. The cockroach powers are gross-out funny, not frightening. This is a feature, not a flaw — Illumination knows its audience.
Celebrity Progressive Casting	WOKE	Stephen Colbert as Perry Prescott — off-screen Colbert is one of America's most prominent progressive political commentators; his casting signals studio comfort with progressive celebrity	Minor. Colbert's real-world politics are irrelevant to his character, who is a cheerful suburban dad with no political content whatsoever. This is a trace-level concern at most.
Mike White Co-Credit	WOKE	Writing credit — White Lotus creator Mike White co-wrote the script; White is known for progressive social satire	Minimal. The White Lotus aesthetic is entirely absent from this film. White wrote to the franchise's commercial constraints. His co-credit is a creative team signal that does not manifest as content.