Finding Dory (Andrew Stanton and Angus MacLane, 2016)
To me, and I know I am in the minority on this, Finding Nemo (2003) has always been one of Pixar’s minor successes; it’s nowhere near as awful as their worst output, like Cars 2 or Wall-E, but it’s nowhere near as good as their classics (Toy Story, Monsters Inc.). And since Pixar’s track record with post-TS2 sequels has been, to put it kindly, abysmal, I wouldn’t have even gone to see Finding Dory if my four-year-old hadn’t begged. And I wasn’t exactly predisposed to liking it today; the mall had a Pokémon Go event going on, so it took half an hour to find a parking spot, and of course at a Saturday matinee, the theater was full of loud toddlers. (I’m not going to say mine is a model, but his mother and I have taught him that quiet is necessary in a cinema, and he mostly gets it.) And yet, I walked out of that theater amazed. Finding Dory is a far, far superior film to its predecessor, and continues the jaw-dropping revitalization of Pixar that started with Inside Out and The Good Dinosaur last year.