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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