Finding dory full movie 2016 series#

Nor is it necessary: a straight cut from lost child Dory to adult Dory at the time of the film's present (one year after the events of Finding Nemo) would get the same job done while still trading on the viewer's knowledge of the earlier film. Most of the audience has seen this film's 2003 predecessor, Finding Nemo, so we all know what's going on in this moment, but it is extraordinarily artless and clunky. He asks about the boat, and she volunteers to lead him, and the scene just kind of dissolves into nothingness.

Finding dory full movie 2016 series#

And as storytelling, this sequence is crisp and efficient, laying out what we need to know about the characters and their feelings, telescoping time through a series of whip-smart edits that show how Dory was, after a certain point, swept away by an undertow and left to fend for herself in the wide ocean, on a constant hunt to find her parents, even after her compromised memory and years of loneliness, she's forgotten who she was looking for, or why.ДЄnd then this not-quite-a-montage wraps itself up with a scene from Dory's perspective (she's by this point voiced by Ellen DeGeneres), in which a speedboat races by over the surface of the water, chased by a terrified clownfish named Marlin (Albert Brooks).

The juvenile Dory character model is also perversely, obscenely cute, made up almost nothing but eyes and a tail. It is a charming, sweet snapshot of life of how coping with a mental disability works in a tight-knit, supportive family, with Keaton and Levy providing heartbreakingly warm and parental vocal delivery (things I did not expect to learn in life: Eugene Levy saying 'cupcake' could make my eyes tear up). The opening is a flashback to the childhood of Dory (Sloane Murray), a blue tang fish with chronic short-term memory loss, being enthusiastically coached and aided by her parents, Jenny (Diane Keaton) and Charlie (Eugene Levy). Which isn't to say it's a washout, or anything, and for the first few minutes, you might even be able to mistake it for a masterpiece. It's firmly in Pixar's 'well that didn't quite work, but it was a great try!' tier, alongside Brave and The Good Dinosaur, and if I like it less than either of them, that's because the strain of being a sequel gives it a much harder time than those films' incomplete character development and world-building. Improving on those two doesn't take a whole lot, and sadly, that's just about all that Finding Dory offers. This is a relief, but not all that much of an achievement: Cars 2 is a visually ravishing trash fire, while Monsters University is an easy-going, wildly lazy hang-out movie that only turns on its brain for the final act. Finding Dory is definitely the best sequel made by Pixar Animation Studios without the word 'toy' in the title.