The main setting of Finding Dory is a California rescue-and-rehab aquarium modeled on an actual one in Monterey Bay. My mind drifted to dumb places: How do these fish know the distance from the Great Barrier Reef to California? How can they speak English?īut then the studio’s peculiar genius kicked in and everything went swimmingly.
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Maybe building a movie on a one-joke sidekick was a mistake, I thought. But she seemed so scattered in her first, flatly written scenes that I got a little bored. She thinks she remembers a family some place, in California, maybe. In Finding Dory, the action proper begins a year after Finding Nemo, when Dory has a flashback - the remembrance triggered not by a madeleine but a stingray migration. But the movie was also a riot of colors and textures - and a riot, period, thanks to a great script and the vocal pairing of Albert Brooks as the semi-hysterical Marlin and Ellen DeGeneres as the sweet, befuddled family friend Dory, whose interjections were often poignantly absurd. What followed was scary, painful, and emotionally knotty: Marlin needed to allow his son to be more self-reliant Nemo had to navigate more soberly. Predictably, he overprotected that son, and predictably that son -Nemo - became reckless in defiance. The opening of Finding Nemo was horrific: a massacre in which the clown fish Marlin lost his entire family - a wife and 399 eggs - apart from one son. Finding Nemo has the more arresting opening.Īnd really, looking back, “arresting” is understating it.
That makes for a big payoff down the road but a perfunctory start. But the movie doesn’t show you how she became separated from her family until much later, filling in the details as she remembers them. Her doting mom and dad are teaching her to navigate a world in which disorientation is the rule and as you watch, you know she’s fated to lose her parents, her memories, and even large parts of her identity. We meet the short-term-memory-impaired Dory as a big-eyed little fish - her eyes are as large as her head. They have the biggest, busiest, and best sleeve in the business. Yes because directors Andrew Stanton and Angus MacLane and their stable of sterling writers and artists have miracles up their sleeve. Finding Dory leaves nothing to chance: It opens sweety-cute, it ends sweety-cute.
No because it feels in its opening scenes like a sequel, made for no burning creative reason, whereas Inside Out, Up, Wall-E, and Finding Nemo were riskier works that could have bombed as easily as been boffo. Is Finding Dory, the new Pixar movie, all that, as you’ve no doubt heard? No and yes.
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