Relax, FINDING DORY is good

There are fewer scarier possibilities for today’s modern moviegoer than a Pixar sequel. I personally cope with this by tempering my excitement for new Pixar fare in a way I didn’t used to, and emotionally holding out as long as I can to see if the films can win me over (Inside Out did, The Good Dinosaur did not). Is it fair to hold every new movie from the studio up to the “Pixar standard?” That’s a big question, but thankfully we can table that discussion for another day because Finding Dory both manages to justify its existence as a sequel to one of the most-loved family films of the ‘aughts and a comfortable addition to the Pixar canon.

Finding Dory feels retroactively necessary to the first film in a way few sequels do, primarily by taking the title to heart and giving Dory (voiced by Ellen DeGeneres, returning to the role that pushed her back into the mainstream over a decade ago) new dimensions that were only hinted at in Nemo. Her short-term memory loss is taken seriously as a disability instead of a cute narrative device, and the consequences of her mental handicap are brought into an uncomfortable new light. The sadness in her parents’ eyes as they try to teach a young (and dangerously cute) Dory how to survive is an unforgettable beat.

Dory’s search for her parents (Eugene Levy and Diane Keaton) provides the narrative thrust for the story, and their clear love for their daughter (expressed through extensive and meticulously-constructed flashbacks) and how that manifests is the most touching take-away from the film. The movie doesn’t venture into the same three-hankie territory as Up or Toy Story 3, but in some ways that’s a relief. There are a few big emotional moments that land well, but the film wisely doesn’t dwell on them for too long.

The film struggles for the first half hour as it covers familiar territory (there’s an action beat designed to mirror the shark scene from the first film that doesn’t feel essential), and straightens out and takes off like a rocket once it sidelines Marlin (Albert Brooks) and Nemo (Hayden Rolence, taking over for Alexander Gould). Dory’s new foil is Hank the octopus (Ed O’Neill) who provides some comic edge and visual dynamism that help the film tremendously. Hope you like tentacles. There are interesting hints in the script that Hank has had a rough go of it, but they’re mostly subtextual touches for those who are paying attention.

Like the best Pixar films, Finding Dory is both consistently and unexpectedly funny. Pixar films are workshopped and tweaked within an inch of their lives, and while this vetting process may take away a sense of individual authorship, it means few jokes are duds. The few obvious pop culture references (some obvious but very funny references to Inception and Alien come to mind) work and won’t date the film but most of the biggest laughs come from well-constructed character moments. Also, make sure you stay through the credits.

It’s not top-tier Pixar (neither, arguably, is Finding Nemo), but it’s a very worthwhile addition to the studio’s stable and justifies its existence in a way that’s unexpected and heartening. Unlike the lesser Pixar sequels (ahem, Cars 2 and Monsters University) Dory succeeds by staying true to its source material and expanding on it meaningfully, as opposed to trying to switch genres or get too clever. You’re going to see Finding Dory no matter what, but rest assured, it’s worth it.