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The good news for Finding Dory, the animation powerhouse’s belated but welcome return to the underwater universe of 2003’s Finding Nemo, is that it firmly sits at the upper end of that quality spectrum. Pixar’s sequels to date have ranged from the sublime ( Toy Storys 2 and 3) and the serviceable ( Monsters University) to the unnecessary ( Cars 2). But it seems his story has run out of steam.ĭirector: Paul Greengrass Starring: Matt Damon, Alicia Vikander, Tommy Lee Jones, Vincent Cassel, Julia Stiles, Riz Ahmed Theatrical release: July 29, 2016 THE VERDICT: Leagues ahead of Legacy but the weakest of the Matt Damon movies, Bourne still has the power to thrill. Whether it warrants further entry is another question any successor must stop delving into Bourne’s past and finally make good on his future.
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Cassel’s lone killer meanwhile is the most fleshed-out orbits and remorseless Asset to date – the French firecracker doing a superb job of conveying murderous intent with little more than a menacing glare.Īnnoyingly, it’s a film that also falls foul of blatant sequel baiting, teasing a list of Treadstone successor programmes and leaving characters hanging in a way that demands a follow up. Ambitious and idealistic, she’s keen to bring Bourne in, but just as keen to progress up the career ladder. Vikander’s Heather Lee makes a more compelling foil. Jones is reliably curmudgeonly, but Dewey verges on cartoonishly evil. There are new CIA suits to contend with, of course, chief among them Tommy Lee Jones’ ruthless director. Worse, Bourne’s vulnerability, the psychological trauma of his 32 CIA kills and 12 years in the cold are never addressed or used to move the character forward. The personal mission he’s given here has the whiff of an awkward retcon, never feeling like an organic continuation of Bourne’s quest for an identity, particularly when a contrived revelation ties events of the past to the concerns of the present. The world has changed significantly since Bourne was last on the scene, yet for all the assertions that now was the right time to bring the $100m weapon out of hiding, it never feels vital to the story. Not only does Bourne have to contend with a CIA surveillance upgrade, but the story orbits Riz Ahmed’s Aaron Kalloor – a web genius who makes a deal with the CIA to snoop on his users. The Bourne films have always been blockbusters with their fingers on the political pulse, and here Greengrass turns his attention over to online privacy post-Wikileaks. It may be bigger, but it isn’t smarter, the film lacking a single moment of memorable über-cool to rival the rolled-up magazine for thrilling quick-thinking.
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And while JB’s action won’t disappoint on a kinetic level, it never pushes the series forward. Peculiarly, bone-crunching close quarters combat is thin on the ground, with just one noteworthy encounter that lives in the shadow of superior scraps from the first three films. It’s a sequence that runs the risk of feeling too big for the series, but never shatters the carefully cultivated sense of heightened realism. Taking in detours to Berlin and London, the film’s action highlight is a Las Vegas destruction derby which boasts collateral damage that would make Zack Snyder wince, as a SWAT van twists metal on the Las Vegas strip. Few directors could craft such clarity out of absolute chaos. Zipping between burning cars as fireworks are launched like RPGs at riot shields, it’s a breath-snatching pursuit that proves that for all the times Greengrass’ ultra-intimate handheld camerawork and frenetic editing have been imitated, they’ve never been bettered.
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Wasting little time before its first adrenalised action sequence – a motorbike chase through the streets of Athens amid a city-wide riot – there’s a tangible sense of relief that Greengrass hasn’t lost his touch when it comes to Bourne’s trailblazing action.