Giancarlo Esposito, Gus Fring himself, is joining Tilda Swinton, Jake Gyllenhaal, and Paul Dano in Bong Joon-Ho’s next sci-fi thriller, Okja. Joon-Ho directed the incredible breath of fresh air Snowpiecer a couple of years back, and Okja promises to be just as weird and inventive as that was.
“[Okja] centers on a young girl named Mija (Seo-Hyeon Ahn) who risks everything to prevent a powerful, multi-national company from kidnapping her best friend — a massive genetically manufactured pig named Okja.
Swinton (who is reuniting with the Snowpiercer director) is playing the head of the corporation (and her twin sister!) while Gyllenhaal is a zoologist. Dano is an animal activist looking to expose the corporation’s dastardly dealings. Esposito will play Swinton’s character’s right hand man.”
This has the potential to be just as nuts as Snowpiercer, which any fan of sci-fi should see. Seeing Swinton in twin roles will be great. Okja is being produced by Brad Pitt’s Plan B, with Netflix planning on releasing the film.
Fans of the wonderful BBC America series Orphan Black will be sad to know that it’s nearing the end of its run. It was announced today that, while the show has been renewed for a fifth season, the upcoming season will be its last. John Fawcett & Graeme Manson, co-creators of the show, had this to say:
“We are excited to deliver an epic conclusion to the tale of Sarah and her clone sisters. The past four seasons have been a phenomenal adventure and we are eternally grateful to our loyal fans who have loved the twists and thrills of our weird little show.”
For those who haven’t previously been part of the Clone Club, Orphan Black is a fantastic sci-fi series about a young woman, Sarah Manning, who gets thrust into the crazy world of cloning. Each clone is played amazingly by Tatiana Maslany, who has received many award nominations (though no wins, as of yet). The Season 4 finale airs tonight (June 16th, 2016), and the final season will be arriving in 2017.
From Zombies To Superheroes, We Look At How Zack Snyder Became Fanboy Public Enemy #1.
Film director Zack Snyder has been working in Hollywood since roughly 2004. Debuting with a remake of ‘Dawn of the Dead‘, the stylistic director has since become one of the most polarizing names. Not since Michael Bay has America collectively torn into a director with such anger. Snyder’s film with the lowest score on Rotten Tomatoes is ‘Sucker Punch‘ at 24%. The next being 2016’s ‘Batman v Superman‘ coming in at 27%. Speaking of, the latest DC film gained so much hate from audiences that there was even a petition to get Snyder fired from future films.
Where did all of this hate come from?
First, we have to start by pointing out what people say in reference to his work. To sum up Zack Snyder as a creator, it would simply be “style over substance”. Reviewers and viewers all say he cares more about the look than the heart of the film. This usually leads to complaints about his lack of character development and the reliance on filmmaking tricks.
“I think I just have a natural operatic aesthetic. I can’t help it.”
-Zack Snyder
Sure, Snyder loves his slow-motion or a saturated color palette but these are trademarks that keep his projects on brand. To claim these quirks takeaway from the heart of the story is an unfair assumption. An aesthetic can be just as important as the drama in filmmaking. The director of 60’s horror film ‘Whatever Happened To Baby Jane‘ claimed he shot the movie in black & white because “color would have made it too pretty. Tragedy should never look pretty”. I feel that way about Zack Snyder films. If you change the visuals of the films, they become far less impactful.
Another major complaint is that Snyder’s film are far too dark, a complaint that was further vocalized when he was given reign over DC’s cinematic universe. After his 2013 Superman movie ‘Man Of Steel‘, there was no going back in the eyes of critics & fans. Hardcore DC Comics fans despised his interpretation of Clark Kent while critics felt the movie lacked the happiness that they expected in a Superman film.
Things would get worse for him with follow-up ‘Batman v Superman‘.
Seemingly out to make the most Zack Snyder film possible, he threw all of his filmmaking tricks at the wall. Snap zooms, slow-motion, brash colors, and brutal violence were on display in this ‘Justice League‘ prologue. Let’s not forget that Snyder also set this DC film in a political post-tragedy world. More so than any film before, I believe ‘Batman v Superman: Dawn of Justice‘ reflects our times so vividly that it made most viewers uncomfortable. Hell, even Nancy Grace showed up.
Look, I’ll admit ‘BvS‘ has filmmaking problems like some choppy editing and cartoon-ish visual effects but there seems to be a bigger issue rooted deeper than those superficial complaints.
“I’d say the purest experience for the movie is not to have read the book because I think when you’ve read the book you’re just ticking off boxes. I think that after you see the movie, reading the book is a cool thing. I always say the movie’s not meant to replace the book. That’s ridiculous. I’m a huge fan of the book.”
–Zack Snyder
Does the above quote spell out exactly why fans dislike Snyder? Is he the anti-fanboy director? I personally applaud a filmmaker who respects source material but allows it to shape a different vision with these established characters. But it seems like any shift of these beloved characters can cause some serious backlash.
And the critics? Are they being paid off by Disney like the Internet loves to joke about or are they just comfortable with the status quo of superheroes movies?
These are questions that are not easily answered but should be asked. Hope he’s not destined for Uwe Boll status for the rest of his career. I think Zack Snyder still has time to redeem himself in the viewer’s eyes with his upcoming 2017 ‘Justice League‘.
The “Buddy Action” duo, often colored by comedy, has become its own genre. It’s crucial in these settings that the duo is mismatched – an Odd Couple thrown into precarious situations. And eventually, in the best of these films, the two fundamentally different characters find common ground.
From the early 80s, all the way to this weekend’s Central Intelligence, here are the 10 best, most balanced, most convincing and well-conceived Buddy Action duos in cinema.
10. Matthew Sykes and Sam Francisco (Alien Nation) – What’s often a criminally overlooked, allegorical sci-fi thriller, Alien Nation deserves another look. Especially given our current national conversation about immigration and crime. James Caan is tough cop Matthew Sykes, and Mandy Patinkin his extraterrestrial partner Sam Francisco. Sykes is a little racist (towards aliens), Francisco relatively straight-laced, but they eventually come to an understanding as they infiltrate the criminal underworld of these “Newcomers.”
9. Ray Tango and Gabriel Cash (Tango & Cash) – Don’t tell me Tango & Cash isn’t a damn near perfect movie when taken into context. Fresh on the heels of Lethal Weapon success, Sly Stallone and Kurt Russell tried their hand playing two tough cops framed for murder. It’s trash, but fun trash. Stallone’s Tango is tough but organized, Russell’s Cash is tough and disheveled. The movie travels through some truly unusual prison scenes and some hyper-violence, all the while Russell appears to be pulling the typically dreary Stallone out of his shell.
8. Detectives Lecce and Reimers (Stakeout) – Call me crazy, but I enjoy BOTH Stakeout and Another Stakeout. The original, however, is a special combination of Richard Dreyfuss’s uptight Lecce and Emilio Estevez’s laid back kid Reimers. The team has to keep an eye on the girlfriend of an escaped convict – the great Madeleine Stowe – and eventually love complicates things. Dreyfuss and Esteves have a comedic chemistry that I would never have expected from those two.
7. Nicholas Angel and Danny Butterman (Hot Fuzz) –Hot Fuzz had the interesting approach to send up the very movie in which it becomes in the end. While satirizing buddy action formulas in film, Simon Pegg and Nick Frost’s Angel and Butterman eventually become honest-to-goodness crime fighters in the sleepy London town of Sandford. Pegg and Frost had some better pairings, most notably in Shaun of The Dead, but that doesn’t take away from the timing and the pitch-perfect satire they show here.
6. Ivan Danko and Art Ridzik (Red Heat) – Another overlooked late 80s action classic. Red Heat is often considered “Minor Schwarzenegger” since it somehow came and went without much fanfare. Arnie plays a USSR policeman on the trail of a heroin dealer. He’s rigid and humorless, so naturally he’s teamed up with slovenly Chicago wiseass, detective Art Ridzik (Jim Belushi). What’s so entertaining about the pair is how they really never find that common ground so familiar in these stories. Ivan isn’t going to loosen up, and Ridzik isn’t ever going to stop giving him shit. “You think Parakeet is feminine?”
5. Jackson Healey and Holland March (The Nice Guys) – Even though it’s only been out for a few weeks, the duo at the center of The Nice Guys absolutely deserves to be on this list. Russell Crowe and Ryan Gosling’s Healey and March are perfect as the straight and funny man, and March even has a Lou Costello moment when he stumbles across a dead body. Thanks to the razor-sharp words from writer/director Shane Black (we’ll be discussing him quite a bit in these next few entries), the Godfather of Buddy Action cinema, Crowe and Gosling absolutely sing.
4. Joe Hallenbeck and Jimmy Dix (The Last Boy Scout) – Consider the duo in The Nice Guys as the distant cousins of Shane Black’s Secret Service burnout Joe Hallenbeck (Bruce Willis) and disgraced QB Jimmy Dix (Damon Wayans). The Last Boy Scout is a cruel and nihilistic – but often super funny – action movie. It hurtles haphazardly through insults and shootouts and car chases with blatant disregard for any sort of political correctness. It could never happen today, and that’s why it should be treasured.
3. Jack Cates and Reggie Hammond (48 Hrs.) – Nick Nolte and Edie Murphy invented the Buddy Action duo with this 1982 gem. Walter Hill’s gritty cop thriller is elevated by a young Murphy infusing his crude early comedic timing into a story about a racist cop begrudgingly working with a paroled crook to bring down a killer. Nolte’s Jack Cates is yet another time capsule character, offensive and racist, and Murphy is more than able to put him in his place by the end.
2. Jack Walsh and Jonathan Mardukas (Midnight Run) – 1988 was the height of the Buddy Action Duo in Hollywood; there are four entries on this list alone. Martin Brest’s story about a bounty hunter (Robert De Niro) tasked with bringing in a former Mafia accountant blends the Buddy Action story with a road film, a chase film, and a well-crafted action adventure. It’s appreciated over time, so much so that the Hollywood Nostalgia Train has decided to make a sequel with Brett Ratner (groan).
1. Martin Riggs and Roger Murtaugh (Lethal Weapon) – There was ever another option for number one. Even though the adventures of Riggs and Murtaugh didn’t birth the Buddy Action subgenre, Richard Donner’s film (from the screenplay by, of course, Shane Black) is the first film literally everyone thinks about when they think about these films. The Lethal Weapon franchise improved in the second one, then got worse in 3 and 4, but the success of this franchise and the manic energy between Gibson’s crazed cop and Glover’s family man was paid the greatest compliment: years and years of ripoffs.
The Flash is a character that’s been around since 1940, the Golden Age of Comics. Over the years, four men have worn the red-and-gold, and each one has made an impact on DC Comics’ history.
We polled Twitter users to find out who they thought the best* Scarlet Speedster was. The results are below:
Bart Allen – 3%
Bart Allen is the grandson of Barry Allen from the 30th century. He is also a descendent of Barry’s archnemesis Eobard Thawne, Professor Zoom, which makes family reunions somewhat awkward.
Bart started his career as Impulse before becoming the second Kid Flash. After Infinite Crisis, he was aged by the Speed Force and took over the role of Flash with Wally West presumed dead. His career was short-lived but no less important to speedster lore.
The younger Allen’s measly 3% isn’t too surprising considering he’s had the least mainstream exposure. He most notably appeared several times on Smallville.
Jay Garrick – 4%
Jay Garrick is the O.G. Flash. He pioneered the title, and is one of the longest lasting superheroes in history (he first appeared just one year after Batman, and two years after Superman). Garrick was also a major player in introducing the multiverse, which is something that’s become central to all superhero comics, not just DC’s.
Without Jay, who knows what the modern landscape of comics would look like? The other speedsters on this list probably wouldn’t even exist.
Yet he received only 4% of the vote. People need to learn better respect for their elders.
Wally West – 24%
Wally West is the Flash of a generation. Introduced as Kid Flash in 1959, Wally took over the Flash mantle following Barry Allen’s death in 1985. He would hold the title for over three decades, even after Barry’s return in 2009. Wally is also the Flash that fans know and love from the Justice League and Justice League Unlimited animated series.
He is the epitome of “legacy” in comics, the one sidekick who fulfilled his destiny, which is why Geoff Johns put him at the center of DC’s recent Rebirth special. If you got into DC superheroes between the mid-80s and early-00s, Wally is your Scarlet Speedster.
But West’s celebrity among millennials wasn’t enough to propel him to victory; he garnered just under a quarter of the total votes.
Barry Allen – 69%
Much like Jay Garrick was a pioneer of the Golden Age of Comics, Barry Allen was a pioneer of the Silver Age. Technically, he was the pioneer; his debut in Showcase #4 is considered the start of the Silver Age. Since then, Allen has been at the center of DC’s biggest world-shattering events.
Barry has every quality that a good hero should have. He has heart, and a strong moral compass that rivals that of Superman. He’s an inspiration to readers, yet he remains totally relatable. And although he’s been a fan favorite for almost 6 decades (October will be his 60th anniversary), Barry’s popularity is only increasing thanks to his leading role on CW’s The Flash.
It comes as no surprise that he won the poll, but the margin by which he won is a bit staggering.
— Monkeys Fight Robots (@monkeys_robots) June 15, 2016
*”Best” is a relative term that in this case more accurately reflects “most popular.”
Thanks to everyone that voted. Do you agree with the results? Let us know in the comments! And vote in future fan polls by following us on Twitter @monkeys_robots!
Deadline reports the 28-year old Teen Wolf actor will appear on the second season of the CW series. It has been announced Superman/Clark Kent will visit his cousin Kara (Melissa Benoit) in National City. Previously, the character appeared in brief glimpses during Supergirl‘s first season on the CBS network.
According to executive producer Andrew Kreisburg, “Greg [Berlanti] and I have wanted to work with Tyler for ages, so this worked out perfectly because Tyler is Superman. We are so thrilled and humbled to add another amazing actor to the legacy of this iconic character.”
Not far off from Henry Cavill
Interestingly, this is not Hoechlin’s first time starring in a comic book property. He started his career playing Tom Hanks’ son in Sam Mendes’ 2002 film adaptation of Road To Perdition. Hoechlin was also considered for the role of Bruce Wayne in Batman v Superman: Dawn of Justice before Ben Affleck was cast.
Supergirl will premiere on the CW Network in October 2016.
Anyone who is going to Finding Dory expecting it to live up to the lofty standards set by Finding Nemo, prepare to be disappointed.
Now don’t interpret this as a warning to avoid this sequel to the 2003 Pixar release. Quite the opposite actually. It’s that Finding Nemo was groundbreaking. In 2003, Finding Nemo was the first release where Pixar implemented it’s more advanced digital animation technology, and the results were astonishing. The story was a unique tale about taking risks no matter how daunting the odds might appear to be. And Nemo was often upstaged by an extremely forgetful blue tang voiced by Ellen DeGeneres.
Now Dory is back in a movie of her own, aptly named Finding Dory, set for release across the country this weekend just in time for kids who started summer break recently. Dory, directed by Andrew Stanton and Angus MacLane, not only atones for Disney Pixar’s massive flop, The Good Dinosaur, but is the best sequel the studio has produced since Toy Story 2.
The film takes place a year after Nemo’s return to the reef. It incorporates a lot of flashbacksto her childhood when she was tiny bug-eyed fish and outlines how Dory was initially separated from her parents (voiced by Diane Keaton and Eugene Levy). We see she spends most of her adulthood (before meeting Nemo) looking for her family. Through a chain of events her quest to find her parents is rekindled, and this time Marlin (Albert Brooks) and Nemo (Hayden Rolence) are the sidekicks.
The search takes place primarily in the confines of the Marine Life Institute, an aquatic center full of wonderful new characters. There are gift shops, loud children, aquarium tanks, cockney sea lions, near-sighted sharks, and quite unusual looking birds. The plot to Finding Dory is a roller coaster; everyone knows there will be ups, downs, and a few moments where your heart might slightly race, but in the end, everyone makes it. Yes, Finding Dory is predictable, but that’s to be expected.
Much like the original film, Dory attempts to teach us all a valuable lesson. In Finding Nemo, the lesson was about taking a risk no matter what the odds, and in Finding Dory it’s all about acceptance. For starters, they touch on the acceptance of chaos, as Dory never has a plan, large in part because of memory issues. This drives Marlin crazy throughout Finding Nemo, and that trend continues during Finding Dory.
The film also touches on acceptance of who people are as human beings. In the original movie, Dory’s inability to remember the simplest of details was more for comic relief but in Finding Dory, it takes a more serious turn as her disability is what indirectly leads to her separation from her family.
What’s remarkable about the film is they take that moment and in a very natural way teach the message of inclusiveness. Not one of the characters in the movie shuns Dory due to her condition, and they treat her like any other fish. In fact, Marlin marvels at Dory’s ability just to act in a situation and doesn’t overthink the whole thing. Finding Dory shows us all that what we might perceive as being a weakness, might actually be a strength in the long run. A lesson all of us can learn.
Finding Dory, Disney•Pixar’s sequel to 2003’s Finding Nemo, starts with everything you loved about Nemo all those years ago and builds out into a beautiful film all its own. With a film story that sure to tug at heartstrings and animation that sets yet another new benchmark for the very best in the field, it’s a must-see for those who loved the original, and a sure-fire good time at the movies for everyone else.
What’s it about?
A year after she helped Marlin (Albert Brooks) find his son Nemo (Hayden Rolence), Dory (Ellen DeGeneres) is living with her friends in their reef. She’s still dealing that little short-term memory loss problem, but otherwise she’s happy as the proverbial clam (as opposed to a clam that appears in this film, who isn’t very happy).
One day, out of the deep blue that surrounds them all, the most remarkable thing happens: Dory remembers something. And not just any “something” — she remembers that she has a family somewhere out there that may be looking for her, may be worrying about her, the way Marlin once worried himself crazy over losing Nemo.
With her friends at her side, Dory ventures out to find her long-lost mom and dad. Their journey takes them to California’s Marine Life Institute, where things of course start to go awry.
But if Dory is good at anything (aside from forgetting things), its improvising in unexpected situations. With the help of some of MLI’s more interesting residents — Hank the octopus (Ed O’Neill), Destiny the near-sighted whale shark (Kaitlin Olson, TV’s “It’s Always Sunny in Philadelphia“), and Bailey the beluga whale (Ty Burrell, TV’s “Modern Family“) — Dory does her best to “just keep swimming”, hoping her path and the occasional memory or two will take her back home.
13 years make a big difference
The first thing that’s glaringly apparent about Finding Dory is just how far Pixar’s animation has come since 2003. As breathtakingly beautiful and sweeping as Finding Nemo was all those years ago, Finding Dory is an leaps-and-bounds improvement.
Arguably, that improvement is most noticeable in the way textures and features of the different marine species who star in the film are brought to life. Yes, it all still retains an “animated” quality to it, but at the same time, everything on screen simply pops as though ready to swim into your lap. Especially in the film’s shots where subjects are in the distance, the sensation felt in watching Finding Dory is that of being in the water or in the aquarium — it’s that immediate and striking.
New characters a delight
But all of that visual splendor might be diminished if story and character didn’t live up to or at least aspire to the heartfelt heights that Finding Nemo reached way back when. Thankfully, writer/director Andrew Stanton, who directed the original film, returns to his characters and treats them and their stories with reverence, and gives audiences new characters to fall in love with.
Ellen DeGeneres and Albert Brooks return to the roles of Dory and Marlin as though they’d never left them, as though they’ve been playing them all these years. But this time DeGeneres really gets to show some range, as Dory’s emotional arc and the film story’s exploration of what’s at Dory’s core beneath all that irrepressible optimism and brightness demands a great deal that she delivers. Dory’s memory issues were played for laughs in the first film — this time, some very real consequences of that problem get a good look, and it makes for thoughtful fare.
As for the newbies to the ensemble, admittedly, the most prominent, Hank the octopus, is a bit of a cliché. The initially hard-hearted, cantankerous lout who works hard to not be won over by Dory’s effusiveness is not much of a stretch for Ed O’Neill’s voice talents, but the production does have a lot of fun with Hank’s ability to camouflage, as well as a particular deficiency that Hank’s very sensitive about.
Dory’s other new aquatic acquaintances all have fun quirks which prove to be instrumental to the story’s resolution and its subtle theme of overcoming obstacles that seem impossible. Destiny and Bailey are a fun comedy duo, but they’re almost outshined by a pair of hilarious sea lions voiced by, of all people, former “The Wire” castmates Idris Elba and Dominic West. If you don’t giggle even just a little bit during their scenes, you may need to reassess your own sense of humor.
Worth seeing?
Without a doubt, Finding Dory is worth seeing, and worth seeing at the premium 3D price, if at all possible. It’s a film experience that’s meant to be as immersive as it is emotional and funny, and thus the larger the screen and the immersive the sound, the more audiences are certain to enjoy. Even if you haven’t seen Finding Nemo in a very long time, or your only experiences with Nemo, Marlin, and Dory come from visits to “The Seas with Nemo and Friends” at Disney’s Epcot, Finding Dory should still awe and delight you if you allow it to.
Finding Dory
Starring the voices of Ellen DeGeneres, Albert Brooks, Ed O’Neill, Kaitlin Olson, Ty Burrell, Eugene Levy, Diane Keaton. Directed by Andrew Stanton.
Running Time: 97 minutes
Rated PG for mild thematic elements.
When we last left David, the android from Prometheus played by Michael Fassbender, he was a disembodied head helping Noomi Rapace’s Elizabeth Shaw escape the clutches of newly-evolved aliens. Sadly, Rapace won’t be reprising her role in Alien: Covenant, leaving Fassbender as the only connecting character between this and the first film.
And nobody expected David to just be a body-less head the whole time in Aline: Covenant, and this new set photo featuring Fassbender and director Ridley Scott might confirm a couple of things: David has changed his hair from blonde to brown (maybe he isn’t interested in Lawrence of Arabia anymore?), and he clearly has a new body attached to his noggin:
It’s hard to tell what sort of gear he’s wearing there in the background. And of course we’re all micro-analyzing one random set photo. It’s still fun to try and figure out the direction of this prequel sequel. The most disappointing thing about the movie right off the bat is Rapace’s absence from the shoot. This means she will almost certainly die off screen in between stories.
Alien: Covenant stars Fassbender, Billy Crudup, Katherine Waterston, Danny McBride (certainly alien fodder), and Demián Bichir. It will hit theaters August 4 in 2017.
Title: Finding Dory Director: Andrew Stanton and Angus MacLane Summary:The friendly-but-forgetful blue tang fish reunites with her loved ones, and everyone learns a few things about the real meaning of family along the way.
This review is probably going to date weirdly but it’s something that I need to address. I saw Finding Dory on Monday evening mere days after the Orlando massacre that has left fifty people dead. I almost didn’t want to go because there was a vigil being held downtown at the same time but I opted for the movie. I’m not sure if that was the right thing to do, but this movie feels like one that needs to come out this week. Pixar movies are known for being happy but also bringing audience members to tears which feels like the thing that everyone needs right now, even if I wasn’t too excited about the movie to begin with.
Finding Dory isn’t quite as good as Finding Nemo, and lacks the emotional gut punch of Inside Out or Up, but it is joyful and happy in a time when we could use some of both.
Photo: Pixar
The short that played before the movie is called Piper and it is probably going to win best animated short. It’s about a little sandpiper that needs to learn to feed itself. This is one of those Pixar shorts where you’re smiling the entire time and want to laugh with joy by the end.
Pixar is a studio that hasn’t really swung and missed yet. While Brave wasn’t perfect and the Cars movies exist to sell toys than tell stories, they always produce quality content. I wasn’t really looking forward to Finding Dory because it felt a little lazy but I can understand why Pixar did it. They had two original movies last year and Moama later this year so a sequel is fine. The thing that I was worried about was the shift of focus. I was worried that Finding Dory would lose some of its weight by focusing on a character like Dory (Ellen DeGeneres *voice*) instead Marlin (Albert Brooks *voice*). The movie sidesteps this problem by keeping Marlin and Nemo (Hayden Rolence *voice*) in the story. The movie feels very balanced in who they decide to focus on and Dory’s memory problem never gets irritating.
The highlight of the movie is Hank (Ed O’Neill *voice*), the mimic octopus. I already consider the mimic to be a fascinating creature to begin with and I think parents should explain to their kids what they are before they see the movie. Hank is funny and the way they use him is great as he bounces off of Dory in an easy going way. He is the dry sense of humor as he only helps Dory so he can get a tag from her and go to Cleveland. Hank doesn’t want to go into the wild and would rather hide in a glass case. There are a lot of jokes that won’t make sense to some that don’t know how brilliant octopi can be. Hank escaped his own tank, for example, which octopi are known for doing.
The movie doesn’t get quite as dark as some other Pixar movies but it does get very close. There is one moment that really gets to me, but this is a Pixar movie that seems to focus on being happy rather than being sad. When I say that it’s not as good as Finding Nemo that’s like comparing silver and gold; both are precious in their own ways. Finding Nemo is a classic that introduced us to a new world under the ocean. Finding Dory is more focused on the world outside the ocean and how fish might react in aquariums. It doesn’t feel quite as groundbreaking as the original but it’s still leagues above what other animation studios are putting out. There is a Marvel style extra credits scene that might be worth the price of admission so stay until the very end.
Finding Dory is the movie we all need to go see this weekend. We need to remember what it’s like to feel joy and be happy in such dark times. The movies are here for escapism and Finding Dory is perfect for the entire family. It’s a movie that revels in its ability to make everyone watching it smile, and I think that’s something we could all use right now.
Now Dory is back in a movie of her own, aptly named Finding Dory, set for release across the country this weekend just in time for kids who started summer break recently. Dory, directed by Andrew Stanton and Angus MacLane, not only atones for Disney Pixar’s massive flop, The Good Dinosaur, but is the best sequel the studio has produced since Toy Story 2.
