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Finding Dory (2016)

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2:30 | Trailer
Friendly but forgetful blue tang Dory begins a search for her long-lost parents, and everyone learns a few things about the real meaning of family along the way.

Directors:

Andrew Stanton, Angus MacLane (co-director)

Writers:

Andrew Stanton (original story by), Andrew Stanton (screenplay by) | 3 more credits »
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Popularity
1,267 ( 207)
Nominated for 1 BAFTA Film Award. Another 16 wins & 45 nominations. See more awards »

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Cast

Cast overview, first billed only:
Ellen DeGeneres ... Dory (voice)
Albert Brooks ... Marlin (voice)
Ed O'Neill ... Hank (voice)
Kaitlin Olson ... Destiny (voice)
Hayden Rolence ... Nemo (voice)
Ty Burrell ... Bailey (voice)
Diane Keaton ... Jenny (voice)
Eugene Levy ... Charlie (voice)
Sloane Murray Sloane Murray ... Young Dory (voice)
Idris Elba ... Fluke (voice)
Dominic West ... Rudder (voice)
Bob Peterson ... Mr. Ray / Additional Voices (voice)
Kate McKinnon ... Wife Fish (voice)
Bill Hader ... Husband Fish (Stan) (voice)
Sigourney Weaver ... Sigourney Weaver (voice)
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Storyline

Dory is a wide-eyed, blue tang fish who suffers from memory loss every 10 seconds or so. The one thing she can remember is that she somehow became separated from her parents as a child. With help from her friends Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a conservatory that houses diverse ocean species. Written by Jwelch5742

Plot Summary | Plot Synopsis

Taglines:

Have you seen her? See more »


Motion Picture Rating (MPAA)

Rated PG for mild thematic elements | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official site | See more »

Country:

USA

Language:

English | Indonesian

Release Date:

17 June 2016 (USA) See more »

Also Known As:

Finding Nemo 2 See more »

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Box Office

Budget:

$200,000,000 (estimated)

Opening Weekend USA:

$135,060,273, 19 June 2016

Gross USA:

$486,295,561

Cumulative Worldwide Gross:

$1,028,570,889
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The film is set one year after the events of Finding Nemo (2003), despite the 13 year gap between their releases. See more »

Goofs

Becky is a Common Loon (aka a Great Northern Diver). The legs of loons are set so far back that they are unable to walk or even stand up on land/buildings, as Becky is shown doing, and in the rare cases where they mistakenly land on the ground are often stranded with no way to take off again. As a result of their reliance on water, they eat only aquatic animals, and would not likely stop to risk their life to strand themselves on land to eat some popcorn. See more »

Quotes

[first lines]
Young Dory: Hi. I'm Dory. I suffer from short-term remembory loss.
See more »

Crazy Credits

In a post-end credits scene, Fluke and Rudder repel another attempt by Gerald to join them on the rock, while the Tank Gang from Finding Nemo (2003) floats by, still in their bags, which are filthy after crossing the ocean -- except for Jacques' bag of course. They begin to celebrate their arrival before being promptly scooped up by researchers from the Marine Life Institute and thrown into a cooler where they will be presumably rescued, rehabilitated and released. The ordeal distracts Fluke and Rudder long enough for Gerald to sneak onto the rock behind them. See more »

Connections

References Jerry Maguire (1996) See more »

Soundtracks

What a Wonderful World
Written by Bob Thiele (as Robert Thiele) & George David Weiss
Performed by Louis Armstrong
Courtesy of The Verve Music Group
Under license from Universal Music Enterprises
See more »

Frequently Asked Questions

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User Reviews

No walls in the ocean
10 March 2017 | by chaos-rampantSee all my reviews

I've never been into animation and my comments probably reflect it. Not for any silly quibbles about real cinema versus not, kiddie versus adult; it's simply that the real world that threads itself around us is too marvelous and fantastical, too full of myriad possible worlds to envision, to forego the opportunity. Okay, but this leaves me free to observe these few things here.

It really has taken a quantum leap the last decade in trying to replicate our world after that business with dead eyes was over. Is there anything more extraordinary than texture and light falling a certain way? An audience of Disney's time would have been baffled by what kind of reality this film shows.

The most fantastical quality of reality is that I can open the door and go wherever. The thinking mind will hold me back nine times out of ten, but the fact that our lives play out against the possibility is behind any life worth being lived. Spontaneity. It lies at the bottom of all the other structures we observe around us and at the bottom of almost every great film I know of.

Pixar's main structure in building world - and what sets them apart from previous studios - is finding a small corner of our own world to animate, say toys in the attic, we can then have the delight of secret lives right under our feet. The more ordinary and familiar this corner is, the more often we can imagine passing through it, the better. It's the difference between Toy Story and Cars. It lets them filter in the following way; the larger surrounding human world retains its quality of callous indifference as we think of it ourselves, our gaze is directed to the magical world-within where fragile beings have to struggle with predicaments like ours.

The primary thing to note in tandem with this is how the rest has been engineered around spontaneous expression. Pixar are something of a master in how things flow, how walls can be moved around to facilitate experience. It's all about turbulent motion that zig zags over barriers; through ocean streams, a bird flying us overhead, through tubes inside the marine park, hijacking a truck. Things magically work out, even when our heroes don't land in the right place, they do.

And you'll see this in the story about a narrator who continuously forgets, has no plan about how she's going to accomplish what she wants other than the urge to find her parents, but makes her way by rubbing against limits of where she finds herself, spontaneously opening ways.


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