Does Pixar have a sequel problem? I doubt it. We can debate the quality of “Cars 2” and “Monsters University,” but “Finding Dory” succeeds because it takes one of the more iconic and unique characters within the Pixar canon and gives her meaningful depth and a story of her own. To me, that’s not Pixar trying to cash in on a few more toys.
“I’m Dory, and I have short term memory loss.” When Dory says this to open “Finding Dory,” she’s just a toddler, a tiny blue bubble of joy with bulging purple eyes that make up almost her entire body. But to hear her say it now, we realize that every quirky and bizarre thing Dory (Ellen DeGeneres) said in 2003’s “Finding Nemo” was actually something far more serious. Dory has a mental illness, and she’s lost. She’s always been lost. As a child, she got separated from her parents and spent her teenage years swimming and searching, asking for help to anyone who would listen, until increasingly, she forgot who or what she was looking for, only that they were missing. Then she bumps into Marlin (Albert Brooks), and the events of “Finding Nemo” take place, interrupting her search for her family until a new memory triggers her old quest. Continue reading “Finding Dory”
