Finding Dory review: ‘rehashes the best bits of Nemo and plays it far too safe’
PUBLISHED: 12:00 27 July 2016 | UPDATED: 11:42 28 July 2016
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Finding Dory follows the traditional definition of a sequel – rehash what worked the first time and change just enough for it not to be a remake.
As is the way with Pixar, the main feature is preceded by a short, called Piper.
Piper sees Pixar venture into David Attenborough territory, with a comparatively lifelike rendering of a baby Sandpiper learning how to hunt for food.
There are jokes and sad bits, but a lot of it is almost documentary realistic, and the accuracy with which the animation mimics reality is uncanny, almost creepy. It shows Pixar at its bold, pioneering best.
Then you get the main feature; which doesn’t.
After Toy Story, Finding Nemo is Pixar’s most precious creation.
It was their first real blockbuster success and was probably the first film that was based as much on emotional engagement as comedic fun.
If Woody and Buzz are Pixar’s Mickey and Donald, than Nemo is its Bambi. It’s a precious thing for them.
This isn’t the first time they’ve made a sequel to a big success but while Toy Story 2 & 3, Monster University and even Cars 2 expanded and nurtured the property, looked at it afresh, Finding Dory follows the old fashioned, traditional definition of a sequel – rehash what worked the first time, change just enough for it not to be a remake and hope that it makes enough money.
Previously Pixar hasn’t been afraid of the dark, but Dory couldn’t be any more safe if it was tucked up in bed.
There are tears and laughs, but all of them expected.
And just to add to the sense of them going through the motions, this is the third Pixar film in a row about a quest to get back to a family unit.
True, Pixar have quality motions, but they are still motions gone through.
Rating: 3/5 stars