Finding Nemo 2: The Search For More Money
Here is the official press release from Disney regarding their forthcoming film “Finding Dory”, the sequel to the 2003 blockbuster film “Finding Nemo” (the really stupid and asinine parts are in bold for your viewing pleasure).
When Dory said “just keep swimming” in 2003’s Oscar®-winning film “Finding Nemo,” she could not have imagined what was in store for her (not that she could remember). Ellen DeGeneres, voice of the friendly-but-forgetful blue tang fish, revealed details today about Disney•Pixar’s “Finding Dory”—an all-new big-screen adventure diving into theaters on Nov. 25, 2015.
“I have waited for this day for a long, long, long, long, long, long time,” said DeGeneres. “I’m not mad it took this long. I know the people at Pixar were busy creating ‘Toy Story 16.’ But the time they took was worth it. The script is fantastic. And it has everything I loved about the first one: It’s got a lot of heart, it’s really funny, and the best part is—it’s got a lot more Dory.”
Director and Pixar veteran Andrew Stanton takes audiences back to the extraordinary underwater world created in the original film. “There is no Dory without Ellen,” said Stanton. “She won the hearts of moviegoers all over the world—not to mention our team here at Pixar. One thing we couldn’t stop thinking about was why she was all alone in the ocean on the day she met Marlin. In ‘Finding Dory,’ she will be reunited with her loved ones, learning a few things about the meaning of family along the way.”
One thing we couldn’t stop thinking about was why she was all alone in the ocean on the day she met Marlin. In ‘Finding Dory,’ she will be reunited with her loved ones, learning a few things about the meaning of family along the way.
Done retching. Okay, lets break this down. I’ll start with a question. When in the history of either the Disney, Pixar, or Disney/Pixar enterprises has a sequel to one of their films ever been a good idea. If you’re finding it hard to get beyond “Toy Story 2” (it was okay people, not groundbreaking), and the “Shaggy D.A.” then you would understand why I’m so saddened to see Pixar, an other wise reputable studio go down the sequel route. Typically when a sequel is done by Disney it is solely to make a cash grab. That’s why most of their putrid spin offs to their animated classics, both from the golden age and second renaissance, have only been released on home video. They had no real cinematic value and Disney, even in the bowls of unabashed capitalism that produces such films, would not disgrace their cinematic track record with such trash.
The Disney sequels were not movies at all really. They were babysitters. They were distractions put on by frazzled adults so their screaming children could be quiet. Unlike their typically superior predecessors the plots of these Disney sequels and prequels tended to have uninspired plots, lazy motivations and second rate animation. Sadly those three attributes have come to define the upcoming slate of Disney and Pixar animated features on the horizon. For those that think I’m being cynical or negative a simple compare and contrast will easily show how superior the original Disney/Pixar product is in comparison to its forthcoming prequel/sequel/ or spinoff.
“Monsters Inc.”: Fear is not only a defining aspect of childhood, it is a business. The Boogeyman doesn’t just scare you for the heck of it, but to make a living, supporting himself and the society in which he lives. That society is Monstropolis: the world on the other side of your closet door. The central (primitive) source of power is the screams of human children. There is no better harvester of screams than James P. “Sully” Sullivan. Along with his one eyed assistant Mike they help provide Monstropolis with as much power as they can which is not easy thanks to Sully’s rival Randall always looking to sabotage him and the simple fact that children are getting harder to scare. But beneath the rivalry and the daily macabre grind lies a more sinister conspiracy. Power plays, unholy alliances, and hidden secrets combine to uproot the very structure of the Monstropolis society and only Sully and Mike can save the day. With a plot containing elements of corporate intrigue and societal growth coupled with sly yet innocent humor, Monsters Inc. is a workplace comedy that both kids and adults can enjoy on many different levels.
“Monsters University”: We take a look back at Sully and Mike’s college days. Hilarity ensues. Seriously, isn’t this the kind of idea screenwriters get fired for. Who the heck looked at Monsters Inc. and thought the characters would work just as well in a college type setting. No one, that’s who. I’ve actually heard this described as a sort of tribute to “Animal House” or some such nonsense. That funny because when I first saw “Monster Inc.” I thought the only thing that was missing (besides cowbell) was a little bit of raunchy frat house humor.
“Finding Nemo”: The beauty and danger of the ocean is home to a simple yet textured tale of a father and son. We watch them grow together and grow apart as they figure out who they are in the big anemone that lies within the deep. Themes such as fatherhood, letting go, coping with loss, finding your way home, sacrifice, and finding your inner strength are all explored with humor and great pathos. All the elements come together to make “Finding Nemo” a wonderful parable of life under the sea.
Finding Dory: Remember the quirky forgetful fish from the first film Dory who almost sunk the film with her tired shtick featuring pop culture references (Fabio…really) and saccharine signing. Well now she gets her own story in which we get to meet her equally eccentric and annoying family. Isn’t that basically the plot from “Nutty Professor 2: Meet The Klumps”.
“Cars”, “Cars 2”: Pixar phones in a serviceable cash cow. Its basically the cinematic equivalent of an A student bringing home two B- papers in a row.
Planes: Followed by a D+ travesty. “Planes”. “Planes!!!!!” Whats next? Will we see talking trains or boats? Maybe a hang gliders that does a soliloquy? With “Planes” we’re surely starting to see the cracks in the Pixar formula come through. What once was brilliant and intuitive storytelling prompted by imaginative and honest probings into humanities most enduring meanderings (i.e., what happens to your toys when you put them away, what happens inside that ant colony, or is being a superhero really that super?) gets replace by hokey premises and uninspired stories (i.e., wouldn’t it be cool if a car could talk, a boat could talk, a plane could talk, monsters went to college, ect).
Pixar is slowly abandoning all the good will they’ve built up by releasing these lame “what if” concepts masquerading as movies. A return to storytelling with substance is needed before I have any confidence in plunking down my money on any future Pixar films. Until then most every prospect Pixar has on the horizon looks completely: