Being an only child has its benefits. You don’t have to share clothes or wait in line for the bathroom, but Nate Gardner (voice of Anton Starkman) is lonely and one day announces to his busy parents, “I’ve decided I want a baby brother.”
To speed the process along the youngster writes a letter to the folks at Stork Mountain. “Dear Stork Delivery Service,” he writes, “Our son really deserves a baby brother. P.S. He has to have ninja skills. Signed adult parents Perry and Sarah Gardner… adults, not Nate.”
What Nate doesn’t know is that Stork Mountain head honcho Hunter (voice of Kelsey Grammer), a white stork and the executive CEO of Cornerstore.com, dropped babies years ago in favour of picking up packages. Why did they stop? Because there are other ways to get babies.
With huge profits rolling in the CEO offers the company’s top job to Junior (Andy Samberg). With over 1 million deliveries under his beak, he’s their best stork, but the new job it comes with a caveat. Junior must fire the company’s lone human employee, Orphan Tulip (Katie Crown), but the brash-but-kindhearted bird can’t bring himself to let her go. Instead he assigns her to the least used department in the company, the Letter Sorting Department.
Tulip intercepts Nate’s letter and accidentally feeds it into the Rube Goldberg-esque Baby Making Machine—literally a machine that makes babies, and not… well, you know what you were thinking—and through the science of baby making transforms the note from pen and ink to an adorable baby girl
Trouble is, Junior has never delivered a baby and doesn’t know what to do with the unauthorized child. He knows he must do something before Hunter gets wind of the kid. With a wounded wing Junior has no choice but to take Tulip along as they begin a wild adventure to unite the child with Nate and his parents. “If I can deliver this by Monday I can still be made boss,” says Junior.
“Storks” never quite takes flight. A manic mix of action-adventure and kid’s humour, it often feels padded by cut-a-ways and musical numbers and never met a gag it can’t run into the ground with repetition. There are several stand-out moments, like a silent battle between storks and penguins, kept quiet so as not to wake the baby and the ever-morphing Wolf Pack, who can change Transformers style into anything from bridges to submarines, but everything else is over-amped and loud with a side of sentimentality thrown in.
Samberg is perfectly cast as the brash but not-so-bright lead character and Keegan-Michael Key and Jordan Peele provide funny and interesting voices to the Wolf Pack leaders but most of the voices are as undistinguished as the story.
“Storks” has promise but never really delivers the goods.
From marilyn.ca: “If you love going to the movies, but you’re never sure what to see, Richard Crouse has the answer! Check out these sure-to-be blockbusters to keep you entertained all summer!” They argue about “Finding Dory” and preview “The BFG,” “The Secret Life of Pets,” “Jason Bourne,” “Suicide Squad” and “Ghostbusters.”
Richard and CP24 anchor Nneka Elliot talk about the weekend’s four big releases, including “Finding Dory,” the buddy comedy “Central Intelligence” with Duane Johnson and Kevin Hart, and a duo of documentaries, “De Palma,” an unflinching look at the films of Brian De Palma and the self explanatory “Raiders! The Greatest Fan Film Ever Made.”
Richard and CTV NewsChannel morning show host Todd Van der Heyden chat up the weekend’s big releases, including “Finding Dory,” the literary bio “Genius” with Jude Law and Colin Firth, and a duo of documentaries, “De Palma,” an unflinching look at the films of Brian De Palma and the self explanatory “Raiders! The Greatest Fan Film Ever Made.”
Years ago my now-wife and I went to see a particularly grim horror movie. Despite “watching” the entire film through her fingers, as though she could shield her face from the gallons of blood ’n guts on display, the creepfest jangled her nerves so badly we had to go see Finding Nemo directly afterwards as a palate cleanser.
Marlin (Albert Brooks) and Dory’s (Ellen Degeneres) underwater road trip to find Marlin’s lost son Nemo, coupled with gorgeous animation and warm-hearted humour, calmed her and because of Pixar there were no bad dreams that night.
Roger Ebert called the family classic “a delight,” and parents snapped up so many of them it became the best-selling DVD ever. Disney is clearly hoping those good feelings have lingered over the 13 years since Nemo first made a splash. This weekend Finding Dory enters a crowded summer season, one already stuffed to the gills with sequels, reboots and reimaginings.
The original cast return (save for Alexander Gould who aged out of voicing Nemo) along with Idris Elba, Diane Keaton and Kate McKinnon. Will that be enough to mine gold when recent sequels have come up empty?
Hollywood wisdom says audiences want familiarity, characters and brands they already know and love, but this year moviegoers have rejected repackaged ideas. Zoolander 2, Ride Along 2, Neighbors 2: Sorority Rising, The Huntsman: Winter’s War, Alice Through the Looking Glass, X-Men: Apocalypse and TMNT: Out of the Shadows all under performed in what the Hollywood Reporter is calling the Summer of Sequelitis.
For the record. I think Finding Dory will do just fine. Not just because Pixar is the gold standard in animation or because it has a story audiences will connect with but because it’s good.
Do I think moviegoers are suffering from Sequelitis? No. Many of this year’s sequels have stiffed because they weren’t very good. The best thing about Zoolander 2 is that it was so unfunny it’s hard to imagine Ben Stiller and Company making a third.
Perhaps the dip in box-office returns for cinematic re-treads is just what Hollywood needs and they’ll realize a constant diet of movies with numbers and colons in the title — or worse, both, as in Neighbors 2: Sorority Rising — is not as appetizing to audiences as they think.
Executives are scared. Pitch Perfect 3, the planned follow up to the $287.5 million grossing Pitch Perfect 2, has been delayed while Universal waits to see whether the sequel slump is a passing phase. In the meantime, expect more than one sequel-crazed studio suit to say, “Thank you Pixar,” when Finding Dory reels in the top spot.
“Finding Nemo” hooked Roger Ebert so deeply he called the animated fish tale “a delight.” Families loved the story of clownfish Marlin (voice of Albert Brooks) and forgetful blue tang Dory’s (voice of Ellen Degeneres) underwater road trip to find the wayward Nemo so much they reeled in millions of digital video discs, making it the best-selling DVD ever.
That film is held near and dear by many, including me. Years ago my now wife and I went to see a particularly grim horror movie. Despite “watching” the entire film through her fingers the creep fest rattled her so badly we had to go see “Finding Nemo” directly afterwards as a palate cleanser. It worked, the story coupled with gorgeous animation and warm-hearted humour soothed her jangled nerves and because of Pixar there were no nightmares that night.
Disney and Pixar are clearly hoping those good feelings have lingered over the thirteen years since Nemo first made a splash. This weekend “Finding Dory” enters a crowded summer season, one already stuffed to the gills with sequels, reboots and reimaginings.
As the new movie begins it’s one year after the events of the first film. Dory is still a charmingly dippy and forgetful fish—“ I suffer from short-term memory loss,” she says, “it runs in my family. At least I think it does.”—now living with her adopted family, Nemo (voice of Hayden Rolence) and the overprotective Marlin inside a sea anemone in the Great Barrier Reef.
When Dory accompanies Nemo on a school trip old memories are stirred up when she sees manta rays migrate back to their homes. “I remembered something,” she squeals. “That’s not possible, is it? Okay, is it like a picture in your head and then you think I’ve seen this before?” Struck with a bad case of homesickness, she has hazy childhood memories of her folks Jenny and Charlie (voices of Diane Keaton and Eugene Levy) and a place called “the jewel of Morro Bay, California.” With Nemo and Marlin at her side, she sets off to find her biological family, eventually arriving at the Marine Life Institute where a cranky octopus named Hank (voice of Ed O’Neill), Bailey the beluga whale (voice of Ty Burrell) and whale shark Destiny (voice of “It’s Always Sunny in Philadelphia’s” Kaitlin Olson) help in her quest.
As a-Dory-ble as “Finding Dory” may be, it swims in slightly murkier water than “Finding Nemo.” Director Andrew Stanton—the mind behind two classics “WALL·E” and “Finding Nemo”—mines “Nemo” nostalgia for all its worth, occasionally relying on that movie’s goodwill to smooth the way for the new story. He has lots to fall back on, likeable characters with expressive fish faces and fun voice work from Degeneres, Brooks and franchise newcomers Keaton, Levy, O’Neill and Burrell, but it isn’t just a nostalgia fest.
Stanton skilfully weaves in many heart-tugging moments, particularly as Dory’s journey nears its end. No spoilers here, but after a familiar-feeling first half the movie carefully balances action adventure with touching family flourishes in the second half.
Visually, this may be Pixar’s most accomplished movie to date. Spectacular, imaginative 3D animation provides visual interest even when the story sporadically washes out. Stanton and his Pixar wizards create underwater, and sometimes-above sea level, worlds that immerse the viewer.
“Finding Dory” is wonderfully made all-ages entertainment with lots of heart, in fact, octopus Hank has three of them! That it somehow makes us feel real emotion for cold-blooded fish may be its greatest achievement. It suffers only in comparison to its classic predecessor.