Finding Nemo was one of Pixars greatest successes. Nobody seems to have any bad words to say about it. It is the third highest grossing Pixar film of all time (the No 1 if you adjust for inflation) and the second highest grossing worldwide. It is no surprise then that it is one that Pixar turn to sequelising here. The surprise name back on board is Andrew Stanton who has been writing Pixar scripts since the beginning, directed Finding Nemo and Wall-E, and has no doubt returned to the familiar after the critical drubbing taken by his live-action venture with John Carter.
Finding Dory emerges likeably. Like Inside Out, it is still not hitting the heyday of where Pixar were at before 2010; it belongs more on the second rung of efforts like A Bugs Life and Ratatouille. It takes a long time for the film to reach its stride. The first half is surprisingly murky. One of the standout things about Finding Nemo in my memory is what a vibrant colour palette the film had; here for some reason, the film seems to have gone with the grey-greens of light reflected underwater or the dankness of fish swimming through algae-encrusted pipes. Which may well be the insertion of realism but makes for a much more visually dour film (even more so if you are watching it through 3D goggles).
The story this time goes from a focus on finding Nemo to finding Dory there is a B plot about Marlin and Nemo trying to find where Dory is in the aquarium but when it comes to the main plot, the film should have more accurately been titled Finding Dorys Parents. Marlin and Nemo are now supporting characters and Ellen DeGeneress Dory allowed to come to the forefront (as well as Sloane Murray who does an absolutely adorable baby Dory). The additional spin that we get on the originals quest plot is that this involves the characters variously breaking in, attempting to rescue/rejoin one another and then breaking out from a marine world. This is a great of fun as the story hops from one pool and tank to the other. There are some delightfully wacky set-pieces involving the octopus Hank commandeering a childs strollers or carting Dory in everything from a coffee pot to a childs bottle to a water bottle. The finale the film reaches with the octopus hijacking a truck and Dory hatching a rescue scheme that involves sonar tracking the path of the vehicle along the highway and her being flipped up onto it via a whales flipper, not to mention the glorious slow-motion climax of the scene, is one of the most dementedly madcap set-pieces that one is likely to see in any Pixar film. The film is not without is soft and heart-warming moments the scene where Dory finally finds her way home is an absolutely adorable one that leaves few dry eyes in the house.
One of the best things about Finding Dory is its characters. Aside from the return appearances of familiar ones, we get a winning line-up of new ones. The overriding theme of Finding Dory now seems to be one of triumphing over adversity despite physical/mental handicaps. The new characters include Destiny, the short-sighted whale shark; Bailey, the beluga whale with a fear of using his echolocation; Idris Elba and Dominic West as a pair of grumpy sea lions basking on the rocks outside the marine world and shooing away a persistent interloper; a somewhat disturbed duck who imprints on Marlin; even Sigourney Weaver as herself voicing the aquariums P.A. system. Although the most winning of these is Ed ONeill, no less than Al Bundy of Married ... With Children (1987-97) fame, as the octopus, or setptopus as dubbed by Dory (apparently because the Pixar animators found it too difficult to animate eight arms), who manages to steal most of the film with his gruff delivery and chameleon-like abilities to blend in with almost any surrounding.