SURTALCHILGAAN DEER DARAHAD ARILJ KINO GARNA.
The absolute best of the continuations endeavored by the Pixar studio figure out how to join a recognizable milieu with the chance to investigate totally extraordinary topics to the first movies. Toy Story 2 (which was composed yet not coordinated by Finding Dory co-executive Andrew Stanton), for instance, takes a gander at the dread of mortality through the crystal of the den. Toy Story 3 goes up against the consequence of a relationship breakdown. Discovering Dory, in the interim, is somewhat less daring specifically, in that it repeats the focal theme of Finding Nemo: that of the persevering guardian kid bond, and the exceptional grasp of family, in every one of its stages. Be that as it may, it is drawn closer with such appeal and warmth that it scarcely matters that the two movies share such comparable curves.
For this situation it is Dory, the amnesiac blue tang (voiced by Ellen DeGeneres), who begins to sort out the as of late uncovered pieces of her adolescence recollections and understands that she has a family, some place in the boundless sea. Her mission to discover them takes Dory to the opposite side of the world and a California marine stop (a voice cameo by Sigourney Weaver as herself, conveying people in general address declarations, is one of the delights of the film). The restoration tanks of the aquarium wiped out narrows are home to the breakout star of the photo: Hank, the escapologist octopus (snappily voiced by Ed O’Neill). Hank’s unending collection of masks is a sight muffle that never gets old.
Pacy and lively in its funniness, the film stops just once in a while to give us a chance to value the excellence of the movement. It is a strikingly stunning picture: the palette of smooth blues is emphasized by features of gleaming light. Thomas Newman’s score is similarly all around judged, accentuating the enthusiastic yet never suffocating us in notion.