Explanation:
Pixar’s filmmakers aren’t resistant to the thought that each one children’s films need morals. They’re just creative about what they teach their audience. Too many kid-accessible animated films spout generic, well-worn tropes: follow your dreams, believe yourself, you'll do anything if you are trying . But Pixar’s Inside Out stands up for sadness as a helpful emotion. Up teaches grade-schoolers that they’ll never be too old for adventures, even once their partners and their youthful dreams die. And in 2003, Finding Nemo became a $900 million box-office smash by scolding overprotective parents, encouraging kids to not let their folks’ nervous fussing hold them back, and gently suggesting that disabilities aren’t an equivalent as limitations.
The sequel, Finding Dory, doubles down thereon last idea with a whole story focused on dealing with disability and despair, couched within the usual Pixar antic adventure. Finding Nemo’s title character has one undersized fin and isn’t a robust swimmer, but adversity and a similarly fin-impaired model build his confidence. Similarly, Finding Dory features a character with a debilitating handicap who develops coping mechanisms, gets help where she will , forges ahead when help isn’t available, and succeeds on her own terms. In a way, this is often another “Believe in yourself and you'll do anything” story. But by refining and focusing that message, writer-director Andrew Stanton and co-director Angus MacLane make it far more relevant. Many kids won’t notice the message: Finding Dory doesn’t explain it in patronizing detail. But it’s likely to strike home for the viewers who most need it, and identify most closely with the story.
Finding Nemo follows Marlin (Albert Brooks), a traumatized and nervous clownfish, on a transoceanic voyage to save lots of his one surviving child, Nemo (Alexander Gould). On the journey, Marlin gets enthusiastic help from Dory (Ellen DeGeneres), a Pacific regal blue tang with severe memory issues. Like Guy Pierce's Leonard in Memento, Dory only has short bursts of functionality before she forgets what she's doing, and whatever she just learned. Finding Nemo plays her condition for laughs, as she keeps forgetting who Marlin is, and what his son is named . (Fabio? Bingo? Harpo?) But she's desperate and vulnerable, too. Finding Dory digs deeper into her vulnerabilities, as a random set of associations triggers her memories of her parents (voiced by Diane Keaton and Eugene Levy). She doesn't remember where they're , or how she lost them, but a bit like Marlin within the first film, she's frantic to reunite together with her missing kin. She quickly finishes up on her own and is usually lost and confused about her purpose. Her determination keeps her moving forward, even as she advised Marlin to stay swimming find Nemo, and bit by bit, the pieces of her past start coming together.
Finding Dory is Andrew Stanton's return to writing and directing after the overly ambitious box-office disappointment John Carter. With this film, he's back on the comparatively safe ground of Pixar principles: an active celebrity cast, a fast-moving adventure filled with chases and jokey repartee, and a basic humanism that persists even when none of the many characters are human. Given the looseness of the plot — a one-thing-leads-to-another quest that periodically backtracks or goes in a circle — the load of the story is more on the characters than the plot developments. Stanton himself returns during a cameo because the whoa-dude surfer turtle Crush, Idris Elba and Dominic West voice a pair of helpful comedy-relief seals, and Kaitlin Olson (It's Always Sunny In Philadelphia) and Ty Burrell (Modern Family) play a nearsighted Rhincodon typus and an insecure beluga whale, respectively. But the film's breakout star is Hank (Ed O'Neill), a cranky seven-limbed octopus (technically, Dory says, he's a septopus) who helps Dory for selfish reasons. Like all Pixar's best grouchy old curmudgeons, he's filled with one-liners and hidden empathy. He's also, naturally, an escape artist and master of camouflage, because real-life octopi are awesome.
pls note if i were you i would cross the thing you wrote or if you want to keep it change is to this so it would be why this movie as that makes more sense. (i hope that makes sense)
