Film Review: ‘Finding DORY’
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from memory loss every 10 seconds or so. The one thing she can remember is that she somehow became separated from her parents as a child. With help from her friends Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a conservatory that houses diverse ocean species. Dory now knows that her family reunion will only happen if she can save mom and dad from captivity. Release date: June 17, 2016 (India) Directors: Andrew Stanton, Angus MacLane Box office: 830.5 million USD Featured song: Unforgettable Budget: 200 million USD |
Film Review: ‘Finding DORY ’
Pixar sequel-phobes be damned — this is a dazzling and technically impressive return to form that delivers a similar high to Finding Nemo without feeling like a retread.
Jimi Famurewa·Empire
A forgetful fish searches for its family in this charming sequel to Finding Nemo.
Wendy Ide·The Guardian
If Finding Dory lacks the fresh surprise of its predecessor, it still brims with humor, heart and animation miracles.
Peter Travers·Rolling Stone
Finding Dory argues, with lovely ingenuity and understatement, that what appear to be impairments might better be understood as strengths.
A. O. Scott·The New York Times
The very best of the sequels attempted by the Pixar studio manage to combine a familiar milieu with the opportunity to explore entirely different themes to the original films. Toy Story 2 (which was written but not directed by Finding Dory co-director Andrew Stanton), for example, looks at the fear of mortality through the prism of the playroom. Toy Story 3 takes on the aftermath of a relationship breakdown. Finding Dory, meanwhile, is slightly less adventurous thematically, in that it reprises the central motif of Finding Nemo: that of the enduring parent-child bond, and the special embrace of family, in all its permutations. However, it is approached with such charm and warmth that it hardly matters that the two films share such similar arcs.
In this case it is Dory, the amnesiac blue tang (voiced by Ellen DeGeneres), who starts to piece together the recently unearthed fragments of her childhood memories and realises that she has a family, somewhere in the vast ocean. Her quest to find them takes Dory to the other side of the world and a California marine park (a voice cameo by Sigourney Weaver as herself, delivering the public address announcements, is one of the joys of the film). The rehabilitation tanks of the aquarium sick bay are home to the breakout star of the picture: Hank, the escapologist octopus (snappily voiced by Ed O’Neill). Hank’s endless repertoire of disguises is a sight gag that never gets old.
Pacy and playful in its humour, the film pauses only occasionally to let us appreciate the beauty of the animation. It is a strikingly lovely picture: the palette of velvety blues is accented by facets of shimmering light. Thomas Newman’s score is equally well judged, emphasising the emotional but never drowning us in sentiment.
he very best of the sequels attempted by the Pixar studio manage to combine a familiar milieu with the opportunity to explore entirely different themes to the original films. Toy Story 2 (which was written but not directed by Finding Dory co-director Andrew Stanton), for example, looks at the fear of mortality through the prism of the playroom. Toy Story 3 takes on the aftermath of a relationship breakdown. Finding Dory, meanwhile, is slightly less adventurous thematically, in that it reprises the central motif of Finding Nemo: that of the enduring parent-child bond, and the special embrace of family, in all its permutations. However, it is approached with such charm and warmth that it hardly matters that the two films share such similar arcs.
In this case it is Dory, the amnesiac blue tang (voiced by Ellen DeGeneres), who starts to piece together the recently unearthed fragments of her childhood memories and realises that she has a family, somewhere in the vast ocean. Her quest to find them takes Dory to the other side of the world and a California marine park (a voice cameo by Sigourney Weaver as herself, delivering the public address announcements, is one of the joys of the film). The rehabilitation tanks of the aquarium sick bay are home to the breakout star of the picture: Hank, the escapologist octopus (snappily voiced by Ed O’Neill). Hank’s endless repertoire of disguises is a sight gag that never gets old.
Pacy and playful in its humour, the film pauses only occasionally to let us appreciate the beauty of the animation. It is a strikingly lovely picture: the palette of velvety blues is accented by facets of shimmering light. Thomas Newman’s score is equally well judged, emphasising the emotional but never drowning us in sentiment.
Pixar sequel-phobes be damned — this is a dazzling and technically impressive return to form that delivers a similar high to Finding Nemo without feeling like a retread.
Jimi Famurewa·Empire
A forgetful fish searches for its family in this charming sequel to Finding Nemo.
Wendy Ide·The Guardian
If Finding Dory lacks the fresh surprise of its predecessor, it still brims with humor, heart and animation miracles.
Peter Travers·Rolling Stone
Finding Dory argues, with lovely ingenuity and understatement, that what appear to be impairments might better be understood as strengths.
A. O. Scott·The New York Times
The very best of the sequels attempted by the Pixar studio manage to combine a familiar milieu with the opportunity to explore entirely different themes to the original films. Toy Story 2 (which was written but not directed by Finding Dory co-director Andrew Stanton), for example, looks at the fear of mortality through the prism of the playroom. Toy Story 3 takes on the aftermath of a relationship breakdown. Finding Dory, meanwhile, is slightly less adventurous thematically, in that it reprises the central motif of Finding Nemo: that of the enduring parent-child bond, and the special embrace of family, in all its permutations. However, it is approached with such charm and warmth that it hardly matters that the two films share such similar arcs.
In this case it is Dory, the amnesiac blue tang (voiced by Ellen DeGeneres), who starts to piece together the recently unearthed fragments of her childhood memories and realises that she has a family, somewhere in the vast ocean. Her quest to find them takes Dory to the other side of the world and a California marine park (a voice cameo by Sigourney Weaver as herself, delivering the public address announcements, is one of the joys of the film). The rehabilitation tanks of the aquarium sick bay are home to the breakout star of the picture: Hank, the escapologist octopus (snappily voiced by Ed O’Neill). Hank’s endless repertoire of disguises is a sight gag that never gets old.
Pacy and playful in its humour, the film pauses only occasionally to let us appreciate the beauty of the animation. It is a strikingly lovely picture: the palette of velvety blues is accented by facets of shimmering light. Thomas Newman’s score is equally well judged, emphasising the emotional but never drowning us in sentiment.
he very best of the sequels attempted by the Pixar studio manage to combine a familiar milieu with the opportunity to explore entirely different themes to the original films. Toy Story 2 (which was written but not directed by Finding Dory co-director Andrew Stanton), for example, looks at the fear of mortality through the prism of the playroom. Toy Story 3 takes on the aftermath of a relationship breakdown. Finding Dory, meanwhile, is slightly less adventurous thematically, in that it reprises the central motif of Finding Nemo: that of the enduring parent-child bond, and the special embrace of family, in all its permutations. However, it is approached with such charm and warmth that it hardly matters that the two films share such similar arcs.
In this case it is Dory, the amnesiac blue tang (voiced by Ellen DeGeneres), who starts to piece together the recently unearthed fragments of her childhood memories and realises that she has a family, somewhere in the vast ocean. Her quest to find them takes Dory to the other side of the world and a California marine park (a voice cameo by Sigourney Weaver as herself, delivering the public address announcements, is one of the joys of the film). The rehabilitation tanks of the aquarium sick bay are home to the breakout star of the picture: Hank, the escapologist octopus (snappily voiced by Ed O’Neill). Hank’s endless repertoire of disguises is a sight gag that never gets old.
Pacy and playful in its humour, the film pauses only occasionally to let us appreciate the beauty of the animation. It is a strikingly lovely picture: the palette of velvety blues is accented by facets of shimmering light. Thomas Newman’s score is equally well judged, emphasising the emotional but never drowning us in sentiment.