book review of finding nemo

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"Finding Nemo" has all of the usual pleasures of the Pixar animation style--the comedy and wackiness of " Toy Story " or "Monsters Inc." or " A Bug's Life ." And it adds an unexpected beauty, a use of color and form that makes it one of those rare movies where I wanted to sit in the front row and let the images wash out to the edges of my field of vision. The movie takes place almost entirely under the sea, in the world of colorful tropical fish--the flora and fauna of a shallow warm-water shelf not far from Australia. The use of color, form and movement make the film a delight even apart from its story.

There is a story, though, one of those Pixar inventions that involves kids on the action level while adults are amused because of the satire and human (or fishy) comedy. The movie involves the adventures of little Nemo, a clown fish born with an undersized fin and an oversized curiosity. His father, Marlin, worries obsessively over him, because Nemo is all he has left: Nemo's mother and all of her other eggs were lost to barracudas. When Nemo goes off on his first day of school, Marlin warns him to stay with the class and avoid the dangers of the drop-off to deep water, but Nemo forgets, and ends up as a captive in the salt-water aquarium of a dentist in Sydney. Marlin swims off bravely to find his missing boy, aided by Dory, a blue tang with enormous eyes who he meets along the way.

These characters are voiced by actors whose own personal mannerisms are well known to us; I recognized most of the voices, but even the unidentified ones carried buried associations from movie roles, and so somehow the fish take on qualities of human personalities. Marlin, for example, is played by Albert Brooks as an overprotective, neurotic worrywart, and Dory is Ellen DeGeneres as helpful, cheerful and scatterbrained (she has a problem with short-term memory). The Pixar computer animators, led by writer-director Andrew Stanton , create an undersea world that is just a shade murky, as it should be; we can't see as far or as sharply in sea water, and so threats materialize more quickly, and everything has a softness of focus. There is something dreamlike about the visuals of "Finding Nemo," something that evokes the reverie of scuba-diving.

The picture's great inspiration is to leave the sea by transporting Nemo to that big tank in the dentist's office. In it we meet other captives, including the Moorish Idol fish Gill (voice by Willem Dafoe ), who are planning an escape. Now it might seem to us that there is no possible way a fish can escape from an aquarium in an office and get out of the window and across the highway and into the sea, but there is no accounting for the ingenuity of these creatures, especially since they have help from a conspirator on the outside--a pelican with the voice of Geoffrey Rush .

It may occur to you that many pelicans make a living by eating fish, not rescuing them, but some of the characters in this movie have evolved admirably into vegetarians. As Marlin and Dory conduct their odyssey, for example, they encounter three carnivores who have formed a chapter of Fish-Eaters Anonymous, and chant slogans to remind them that they abstain from fin-based meals.

The first scenes in "Finding Nemo" are a little unsettling, as we realize the movie is going to be about fish, not people (or people-based characters like toys and monsters). But of course animation has long since learned to enlist all other species in the human race, and to care about fish quickly becomes as easy as caring about mice or ducks or Bambi.

When I review a movie like "Finding Nemo," I am aware that most members of its primary audience do not read reviews. Their parents do, and to them and adults who do not have children as an excuse, I can say that "Finding Nemo" is a pleasure for grown-ups. There are jokes we get that the kids don't, and the complexity of Albert Brooks' neuroses, and that enormous canvas filled with creatures that have some of the same hypnotic beauty as--well, fish in an aquarium. They may appreciate another novelty: This time the dad is the hero of the story, although in most animation it is almost always the mother.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Finding Nemo (2003)

101 minutes

Willem Dafoe as Gill

Albert Brooks as Marlin

Brad Garrett as Bloat

Ellen Degeneres as Dory

Barry Humphries as Bruce

Geoffrey Rush as Pelican

Alexander Gould as Nemo

Written and Directed by

• Andrew Stanton

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Home » 15 Years Later, Finding Nemo Is Still Pixar’s Best Story

15 Years Later, Finding Nemo Is Still Pixar’s Best Story

Finding Nemo opened in theaters on May 30, 2003, and to this day, it remains Pixar’s most financially successful film ever when adjusted for inflation.

The reasons for this are numerous. Finding Nemo happens to be one of Pixar’s more hilarious films, if not the funniest. Its animated ocean world is a stunner, even by today’s technological standards. The characters are all memorable, despite there being so many competing for attention. And most importantly, the film’s core message about parenting is perfectly argued and communicated.

Every scene, every character, and every joke in Finding Nemo is in service to one fundamental truth that punctuates the entire movie. It’s the definition of superb storytelling, but for years, Finding Nemo has been written off by some as one of Pixar’s less serious films, and wrongfully so.

It might be tempting to consider the messaging in Finding Nemo to be simplistic or basic. Marlin, our main character, has to learn how to become a less overprotective father to his son, Nemo. If this was all Finding Nemo set out to communicate, then it would probably be a far less compelling film and too long, as a result.

Of course, Finding Nemo goes much further than lecturing parents about the ails of sheltering their children. In fact, Finding Nemo contradicts this exact message within the same scene it establishes the stakes. When Nemo stands up to Marlin for not trusting in his ability to make his own choices, Nemo is promptly snatched up by a scuba diver and put into the dangerous situation his father feared for him. In this scene, Marlin’s fears are justified. Perhaps he was right to be overprotective.

There is a bit of mixed messaging in this scene, which is by design. Director Andrew Stanton and his creative team purposefully want you to keep watching in order to find out what lesson this story is really going to tell. We want Marlin to find his son, yes, but on a deeper level, we want to know what he’ll ultimately take away from the experience. And each scene between Marlin and his new friend, Dory, is more than an exciting set piece. Broken down, they’re all parenting lessons for Marlin, with Dory as the avatar for his own son.

Marlin struggles with Dory’s short term memory loss, often “parenting” her and getting frustrated with her shortcomings. But ultimately, he learns to trust in her abilities and accept the risks of uncertainty.

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The jellyfish scene in particular is a wonderful commentary on how parents can use games to navigate harrowing times with their children, but they don’t often seen the toll these environments can have on a child by the end of it. Marlin makes a game out of navigating the jellyfish swarm and even has fun with it, but he doesn’t realize until the end that Dory has gotten “damaged” by the ordeal, forcing him to go back for her, demonstrating the physical lengths a parent will go to for their child.

The bulk of Marlin’s arc is realized, of course, when he finally relies on Dory while they’re trapped inside of a whale, his first true step in transferring these lessons onto his son. His inner desire, to keep his son safe, is never compromised by the film’s events. By the end of the story, he’s still driven by the love he has for Nemo, but he’s learned to accept new conditions. These conditions include allowing Nemo to take care of himself, because one day, his father won’t be around to do it for him.

At this point, Finding Nemo is already doing more than the vast majority of films trying to convey truths about the human experience. But it goes one step further by lending equally dramatic weight to Nemo’s journey, parallel to his father’s adventure. For Nemo, the end goal is the same as Marlin’s, but he faces different challenges and circumstances related to overcoming his own physical limitations and general fear of failure.

What drives Nemo is also consistent until the very end. He wants to prove himself and experience all that life has to offer. But he accepts new conditions that mean heeding the advice of his father and placing a stronger priority on his safety, as well as the safety of others.

It’s this complicated layering of dual storylines that allows Finding Nemo to connect at a level that few movies, let alone ones made by Pixar, have achieved. The universal appeal of such a crowd-pleasing story is obvious, because almost everyone can relate with having a parent/guardian, being a child or under someone’s care, or a mix of the two. And rather than present the audience with simplistic answers within the first act, Finding Nemo takes the risk of asking hard questions first and taking the time to explore solutions by example and allegory over the course of a thrilling odyssey, until the conclusion leaves the audience with a sense of wonder, not just at the gorgeous world they’ve just stepped into, but also in the meaningful experience they’ve shared with a filmmaker.

Jon Negroni

Based out of the San Francisco Bay Area, Jon Negroni is TYF’s resident film editor and lover of all things oxford comma. He’s the author of two novels and a book about Pixar movies, plus he hosts Cinemaholics, a weekly movie review podcast.

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BOOK REVIEW: The Art of Finding Nemo (This one’s personal 😳)

• Book review
• Concept art

Key Features

• Lots of beautiful pastel and charcoal lighting studies
• Not as much emphasis on character design as in other 'Art of...' books
• One of my favourite 'Art of' books, full of nostalgia

The Art of Finding Nemo is a golden oldie in terms of concept art books and to me, it has an extra special significance.

The film and the concept art book mark the turning point in my career, where I turned away from traditionally academia to follow an artistic career path.

In this post, I look to review The Art of Finding Nemo and showcase some of the exquisite art from it. I also let you in on a very personal moment and how this book and film changed the trajectory of my life.

Let's dive in.

A little nostalgia

The art of finding nemo: overview, chapter 1: leaving home, chapter 2: the big blue, chapter 3: the tank and harbor, minor criticisms, final thoughts.

It was 2003 and I'd just been to see the latest Pixar blockbuster, Finding Nemo. I remember coming out of the cinema, transfixed.

The incredible animation, breath-taking visuals and heart-warming story mesmerised me. More than that, however, they reignited an innate desire - a yearning, more like - to create my own worlds and characters and stories, just like those on the big screen.

I'd always felt these urges, but I think years of relentless academia had suffocated them.

But watching Finding Nemo was like an adrenaline shot to the heart.

These innate urges were suddenly revived and burning with intense ferocity, incinerating any attempts by logic or reason to dampen the flames. All appeals to follow a 'sensible' career were subsequently ignored. From that moment, I collected as many books as I could, including this one; I was compelled to pursue a career in animation.

And so, 17 years later, with many years in the animation industry under my belt, it's with a fond smile that I'm flicking through the well-worn pages of this book, writing this review. It truly changed the trajectory of my life.

Anyway, nostalgia to one side, let's shine the spotlight on the star of the show: The Art of Finding Nemo .

At 160 pages, The Art of Finding Nemo doesn't take long to read, but the beautiful artwork will keep you captivated for hours.

The artwork is arranged into 3 major chapters, each matching chronologically the 3 major sections of the film. These are entitled 'Leaving Home', 'The Big Blue' and 'The Tank and Harbour'.

If you haven't seen the film here's a spoiler-free summary:

Nemo is an adventurous clownfish who gets fish-napped! Driven both to prove his courage to his friends and to defy his overprotective father, Nemo travels too far from the safety of their coral reef and ends up being captured. He's transported back to Sydney and plopped in the tank of a dentist's office exotic fish tank. Consequently, Marlin, Nemo's fretful Father, must overcome his fears and traverse the dangers of the open ocean on a 5-day daring mission to rescue his son.

It was the fifth and most successful Pixar film to date (before it was surpassed in 2010 by Toy Story 3). For 2003, the visuals were spectacular but watching it again in 2020 and the CGI looks understandably dated.

However, not so the concept art!

Filled with sensational lighting studies, amazing character sketches and insightful storyboards, the concept art featured in The Art of Finding Nemo remains exquisitely timeless.

Perhaps that's why I love concept art so much; you can look back at sketches of Sleeping Beauty or Snow White and the Seven Dwarves - heck you could go back even further to look at the preparatory sketches of Da Vinci and Michelangelo - and no matter how old, they're all filled with a timeless vitality.

Below is a closer look at the concept art from each of the 3 chapters.

Nemo's home is the beautiful coral environment of the Great Barrier Reef. As such, the vibrant colours of the coral reef are vividly brought to life with exquisite pastel concepts

Production designer Ralph Eggleston is credited with much of the pastel work in this book. It's such a vibrant yet messy medium, but he handles it with masterful skill, producing gorgeous lighting studies and colour storyboards.

The other stand out artist featured heavily in this book is Simón Varela. His black and white charcoal concepts are amazing and so detailed.

They remind me of the black and white drawings of M. C. Escher. I like that these often feature as full or even double-page spreads as it allows you to pour over them and revel in the details.

I would say pencil character design sketches are my favourite type of concept art. And whilst the first chapter seems predominantly filled with pastel lighting studies, there are a few character designs too.

I especially like the Nemo character designs on page 26 and the cartoony sketches of Dory's expressions on page 42.

If like me character design is more your thing, chapter 3 is where you'll find most of the character design sketches in this book.

In the film, the gang of fish in the dentist's office refers to the open ocean as 'The Big Blue'. However, in terms of narrative, 'The Big Blue' is also the part of the story that represents the journey into the unknown.

In Finding Nemo, after leaving the safety of home, this is where Marlin encounters many dangers and challenges such as bloodthirsty sharks, submerged minefields, poisonous jellyfish and electric anglerfish.

The artwork in this section, therefore, is full of murky greens and hypnotic pinks. As Ralph Eggleston highlights:

"There's a lot of colour at the beginning of the story, but then we leave this Garden of Eden to go into the unknown, the palette goes way down. After Father and Dory leave the reef, there are chunks of the movie where there are only three or four colours in a scene." Ralph Eggleston Production Designer

Again, the pastels dominate the first part of this chapter to convey the translucency and depth of field of thousands of jellyfish and also to depict the murkiness of the sharks' den and the almost pitch black of the seafloor.

You can see again Eggleston's masterful use of light and colour on page 71 with the incredibly nuanced lighting depicted in the anglerfish lighting studies . I love how he's depicted the sand ripples on the seafloor with such elegant precision.

Amongst the many lighting studies in this chapter, there are other little gems.

For example, on page 62 there is a sample page from an early script with accompanying sketches. The opposite page shows a slightly different scene with some much more refined storyboards .

Storyboards are always interesting to see yet somehow seem less documented in these 'Art of' books, so it's great to see a small example here.

The Big Blue (aka 'the unknown') isn't all about danger, though. It's also where our hero meets some allies.

In Finding Nemo, Marlin and Dory are aided by a family of sea turtles. They offer a refreshing relief after the scary trials Marlin and Dory have endured.

Similarly, in The Art of Finding Nemo, it's a refreshing change from all the pastels to now see some full-page pencil drawings.

Page 86-89 showcase some fantastic pencil sketches, especially on page 86-87 which showcase some more of Carter Goodrich's work.

Many concept art fans will recognise Goodrich's work featured throughout most of the Pixar concept art books. They're almost always pencil drawings, sketchy, but lovely caricatures. The sense of character he conveys is fantastic.

Also, another favourite of mine in this chapter is the page of cute baby turtle marker sketches by Peter de Seve. Check them out on page 89 - so adorable!

This is the chapter I like the most because it features the most concentrated number of character design sketches. Understandably so as this is where Nemo meets an eclectic bunch of characters

There's Gill, the mysterious Clint-Eastwood-like leader of the tank, Deb the humbug fish, Bubbles, Gurgle, Jacques, Peach, Bloat the Blowfish and Nigel, the pelican from the Harbour.

With such an eclectic mix of characters to design, this section naturally features many more pencil sketches.

Ricky Nierva, character art director, says:

"The tank gang's characteristics were likened to the neuroses of the characters in One Flew Over the Cuckoo's Nest" Ricky Nierva Character Art Director

If you're a character design fan like me, you will probably enjoy this section the most.

There is also a great selection of storyboards featuring the key poses from specific sequences. For example, on page 117 with the neurotic Gurgle key poses illustrating the captions beneath.

My favourite medium has always been pencil, and it's my favourite part of any concept art book. Especially pencil sketches drawn on top of the coloured pencil sketches (think Florian Satzinger).

So, it's no surprise that one of my favourite pieces in the Art of Finding Nemo is on page 136 - the pelicans sat on the pub. Jason Deamer is the artist and many more of his pencil sketches are dotted throughout the book, each one a delight!

If you're looking for beautiful and inspiring lighting studies or examples of pastel and charcoal mastery, this is the book for you.

However, if you're a character designer looking specifically for character design inspiration, there are probably other books I would recommend.

For example, The Tarzan Chronicles feature many more pencil sketches, especially by the amazing Glen Keane.

I would also recommend The Art of Monsters University, which with its vast cast of characters naturally features so many fantastic character designs.

Also, The Art of Finding Nemo doesn't feature any of the clay models used in pre-production, which feature in some later art books, like The Art of Ratatouille. This may disappoint if you're into 3D modelling.

A few reviewers online mentioned they would have liked to have seen comparisons between the production art and the final rendered scene. Which, again, may be a disappointment if you're a 3D modeller. Though being fair, this isn't really a feature of these types of concept art books.

Finally, the last few pages of concept art in the third chapter features the fishing boat scene, the ultimate climax of the film. The artwork here is very art deco in style.

To be honest, I'm not sure how much of the ideas in these pieces of concept art made it into the film. However, if you're into Art Deco, you might like these pieces but I prefer the coloured pastel scenes found earlier in the book.

The Art of Finding Nemo is a wonderful behind the scenes look at one of the most influential films of my life.

But to any fan of concept art, it's another sparkling window into the magnificent world of pre-production concept art. The concept art featured is exquisite, the artists themselves surely some of the greatest living masters in their field.

It's been a joy to review this book, filling me with much nostalgia for my formative years.

It's reminded me of my daring to turn away from a traditional career path in favour of a creative, much less certain one. But as story supervisor Ronnie del Carmen says in the book:

"...that's the theme of the movie. It asks: Are you going to live a life of complete safety and risk nothing? Or are you going to take a chance and maybe find that only by doing so are you truly alive?" Ronnie del Carmen Story Supervisor

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Finding Nemo

Where to watch.

Watch Finding Nemo with a subscription on Disney+, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

What to Know

Breathtakingly lovely and grounded by the stellar efforts of a well-chosen cast, Finding Nemo adds another beautifully crafted gem to Pixar's crown.

Audience Reviews

Cast & crew.

Andrew Stanton

Albert Brooks

Ellen DeGeneres

Alexander Gould

Willem Dafoe

Brad Garrett

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The Art Of Finding Nemo

Jerry Beck reviews The Art Of Finding Nemo , a book featuring the many conceptual drawings that developed Pixar Animation Studio's next feature film, revealing the talent and artistry behind the scenes.

© Disney/Pixar.

If you have any doubts about Pixar's status as America's top animation studio, with The Art Of Finding Nemo author Mark Cotta Vaz has assembled a new book filled with ample evidence certainly supporting that claim. This new volume profusely illustrates where today's top animation talent has migrated. Pixar may be the leading creator of computer-generated motion pictures, and its staff of character designers, storyboard cartoonists, production painters and inspirational artists are clearly the best in the field.

And this book celebrates them all in a visually delightful package that entertains and educates its readers with a behind the scenes look at Andrew Stanton's excellent new movie. Now, not one image in this book is actually from the finished motion picture, which will be released in the U.S. on May 30, as this is about how a story visually comes to the screen. Told mainly through first person interviews with key personnel, the book explores the visual development of the film's major sequences with fantastic production artwork of all varieties.

Marlin (left), a frantic father whose son Nemo has been unexpectedly taken from his home, enlists the aid of a friendly-but-forgetful fish named Dory (right) in his rescue mission. © Disney/Pixar.

If you're a fan of underwater cartoon settings and characters (as I am) be it SpongeBob SquarePants or The Incredible Mr. Limpet , Disney's Merbabies or Fleischer's Educated Fish you know that the amazing world under-the-sea has always stimulated animators' imaginations. Amazing acrylic paintings, pastel sketches, pencil studies and charcoal renderings fill this book, accompanied by the artists' words explaining the thought that went into the story, settings and visual tone.

Ralph Eggleston's superb color keys and Bruce Zick's amazing pencil designs take center stage, but outstanding contributions by Geefwee Boedoe, Peter Sohn, Ricky Nierva, Peter de Seve and Carter Goodrich will dazzle your eyes. Producer John Lasseter and writer-director Stanton contribute forewards and they are quoted throughout the book, along with staffers Ronnie Del Carmen, Sharon Calahan, Lee Unkrich, Dan Lee, Eggleston and others, shedding insight on the artistic process.

It looks like Pixar, that takes 2D's squash and stretch and applies it to 3D like no other studio, is back with another spectacular film. How can you beat expressions like this? © Disney/Pixar.

The volume is a great way to preserve this rarely seen production art, and the book's layout lets the visuals tell the story. Anyone trying to match what Pixar accomplishes on a regular basis should study this book to understand the artistic effort, trial and error, and just plain fun, that goes into creating an animated classic. It's a huge team effort and this studio has assembled a winning team.

Those of us who study animation's history have envied the stories we've heard and read of Disney's golden age that period between the mid-1930s and early '40s when it was a dream studio filled with incredible talents pushing the envelope, creating classic films that were as artistically true as they were popular and entertaining.

That studio and era live again at Pixar.

Need further proof? Pick up this book.

The Art Of Finding Nemo by Mark Cotta Vaz. Forwards by John Lasseter and Andrew Stanton. San Francisco, California: Chronicle Books LLC, 2003. 160 pages. ISBN: 0-8118-3975-3 (US$40.00)

Jerry Beck is an animation producer and cartoon historian with a nifty Website at www.cartoonresearch.com and a new book, Outlaw Animation , due out this spring from Harry N. Abrams.

View the discussion thread.

Elsewhere on AWN

Theatrical Review: Finding Nemo – The Musical

TouringPlans is pleased to welcome guest author Ted Wioncek III.

Attention Must Be Paid to the Clown Fish!

The medium of theme park entertainment has yet to receive the proper kudos it deserves from the masses worldwide. Though a large fandom may exist (exalting select acts in cult-like fashion), rarely does the artform receive the attention of professional theatre critics. I suppose what makes this style of live entertainment so difficult to assess is that it refuses to follow a format and continues to play by its own rules. Perhaps that is what we love most about it.

There are countless touches of entertainment throughout the parks, all remarkable in their own way. Yet, one manages to rise above the rest, hitting all the marks – the inspired and (now) retired, Finding Nemo – The Musical.

For those who failed to catch the original version (there is a new “reimagined” version currently in auditions) allow me to say; it was fresh, innovative, and relentless in its pursuit to change the way we look at the medium.

Throughout the 40-minute musical, we are taken through a masterful kaleidoscope of high-theatrics, from puppetry and acrobatics to physical comedy and animated backdrops. Under the knowing hand of Tony Award-winning director Peter Brosius, a beautiful tapestry of skillsets are woven together to make one big (blue) world unfold before our very eyes. The puppetry, designed by Michael Curry (The Lion King), is particularly breathtaking and truly inspired. This is achieved by having on-stage human performers operating colorful, larger-than-life puppets – some as big as a car and requiring multiple people to manipulate. Dripping with ingenuity – there is seldom a minute that goes by that we aren’t being introduced to a new convention.

Equally impressive is the score, written by Tony Award-winning composer Robert Lopez (Avenue Q, Book of Mormon) and his wife, Kristen Anderson-Lopez. The music is so catchy and infectious – you could have sworn you’ve heard it before. Meanwhile, the lyrics are heartfelt and cheeky, frequently making pop-culture references (“haven’t you seen Jaws?”) and breaking the fourth wall. Even the truncated book that mirrors the beloved 2003 film does not leave us wanting – a rarity when tasked with entertaining audiences of all ages.

The blocking is tight, sharp, and effective. Though much of this helps make for a well-paced and syncopated production, it also is for safety’s sake. Remember, these talented thespians are not just in charge of their own performances, but are the guardians of their puppets, as well. The cast is tasked with keeping to very specific movements and therefore must refrain from deviating from the precise actions that they have been assigned.

What is most impressive is how Brosius and Curry manage to make us buy in – believing that the puppet and puppeteer are one in the same. Unlike Voyage of The Little Mermaid (where they go to great lengths to hide the strings), Finding Nemo – The Musical embraces the strings, allowing them to play in plain sight and become part of the story! The payoff is extreme emotional resonance.

Sometimes, it is pure fun – like when Marlin and Dory fly about the stage in Mary Martin fashion – zipping and zooming from wing to wing.  Other times, it is heartbreaking – when Nemo defiantly swims away, the puppeteer lets go of the puppet, allowing it to swim a few yards away, as the puppeteer continues to keep her arm extended out. The moment is so raw and the accompanied physicality so vulnerable that it is hard to believe we’re not watching a snapshot of our own childhood – that irreversible moment when we stop wanting to “grow up” and realize we’re already there.

Though the puppetry is masterful, oftentimes the charm is found in the most simplistic of movements, such as the silly acknowledgement and interplay between Dory (the puppet) and Dory (the puppeteer). This little self-referential nod is a puppetry standard, dating back to the days of Punch and Judy and perfected by ventriloquist Edgar Began and Charlie McCarthy. Proving to audiences of 1,500 at a time… that there is no such thing as an old joke… if you’ve never heard it before.

The lighting design may be the unsung hero of the show. Along with an effective glistening water effect, there is nary an accent missed that isn’t further punctuated by light. It is far less utilitarian than it is visceral, making for a Broadway-style experience.

One issue I did find with Finding Nemo – The Musical is its abrupt and unconventional buttons. If you listen closely, you can hear the audience’s delayed response after each scene and/or song. Yet, we know this is not indicative of their overall impression of the production. In fact, on the contrary – when it comes time for Curtain Call, triumphant cheers can be heard as far as EPCOT!

In addition, some plot points are rushed and trampled over. However, it is evident that this is due to a lack of time, not imagination! Even the pivotal “We Swim Together” seemingly comes out of nowhere. But believe you me – I’m picking nits here! All in all, an extra ten minutes on the shot clock and these holes would be patched up tout de suite.

Before closing out this gushing review, I do wish to state that I am concerned with the plans for the recently announced “re-imagined” version of Finding Nemo: The Musical. Once upon a time, the phrase “re-imagined” would have dazzled and delighted me to my very core. Now, too often it is used as a half-hearted attempted to give a budget-friendly facelift to work that should have otherwise been left well enough alone. In addition, the phrase implies that there is a need for a bit of freshening-up to be done. In my not-so-humble opinion, I don’t think Finding Nemo – The Musical was showing its age.

I am worried that Bruce (due to his size and therefor his presumed daily upkeep) will be deduced to a projection – that the brilliant 18-person cast will be thinned out – that unnecessary cuts will be made to shave a few measly minutes off the runtime in hopes of getting the guests out of the seats and back into line to buy popcorn buckets. Forgive my skepticism – for it is simply out of love from what was that I fear for what will be.

And yet, I am excited for what is to come! For better or worse, I am just happy to know that Finding Nemo – The Musical will just keep swimming!

What are your thoughts about Finding Nemo – The Musical? Let us know in the comments.

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4 thoughts on “ Theatrical Review: Finding Nemo – The Musical ”

Ted- I agree so much with everything you’ve said here. So much so, that the failure of finding Nemo the Musical to return makes me not miss going to WDW anytime soon. It is absolutely my favorite show at WDW and one of my favorite experiences there. I share your concerns about its reimagining though I certainly hope they prove unwarranted. The latest fireworks shows to come out do not do much to give me hope in this. Anyway, I appreciate touringplans for giving it to us straight and not making everything gush with praise for the decisions the Disney makes.

Ted, I couldn’t agree with your review more! I felt like I was the only one who shed a tear when I heard the show was being “reimagined.” I only was able to see it twice because I couldn’t convince my family to sit through it. Now I’m miserable that my 10-year-old son, the aspiring thespian, will never see the original. I remember being astonished that the puppeteers were in full costume and full view, and my mind completely merged their performances with the motions of the puppets. I’d just never seen anything like it before. It was nothing short of magical for me. It’s been years since I’ve seen it and it still invokes deep emotion for me. Thank you for a wonderful eulogy. Please come back and write lots more!

My experience us this show was deafening, made my small children cry in pain.

The puppets and set were good, I thought the songs were atrocious. I don’t like even the best of that song writing team, they are no Sherman brothers. But i get why people like their hooky melodies.. but I can’t recall a melody for this show.

Personally I think if you only see one show in AK, make it the festival of the lion king.

Just one person’s experience

You are welcome to your opinion but I fully disagree. The music and melodies are fantastic and we regularly listen to the musical soundtrack on our streaming service at home.

This article is very well written and gave us a chance to reminisce on this amazing experience while in the park. But I also agree with the concern that a Bob Paycheck’s reimagining will result in a lesser low budget production. Thanks to all of the performers over the years!

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Finding nemo: my puzzle book, common sense media reviewers.

Engaging book/game combo for young Nemo fans.

A Lot or a Little?

What you will—and won't—find in this app.

Young kids can learn to complete puzzles and pract

Generally intuitive to play. Parents can change se

The Disney Pixar logos appear on the initial intro

Parents need to know that Finding Nemo: My Puzzle Book turns a read-aloud book into an interactive puzzle and seek-and-find game for preschoolers. The modern-day classic story of the brave little fish's return to the sea from a fish tank in a dentist's office will be delightfully familiar to Disney fans…

Educational Value

Young kids can learn to complete puzzles and practice reading and speaking with Finding Nemo: My Puzzle Book. Through simple learning games embedded in the story, kids can learn basic investigation skills ("If I tap this, maybe that will happen") and practice prediction. Kids can listen to the story spoken by a narrator, read, or record it themselves; however, the words don't highlight as they are read, nor can kids hear them spoken aloud by touching them. The story told on the app helps kids learn perseverance. For young kids, this app presents small but important lessons and skills such as solving puzzles and persevering.

Ease of Play

Generally intuitive to play. Parents can change settings to auto-turn pages if very young kids can't press the arrows to do so. If a child doesn't see which items are "fish tank treasures" to collect during the first time through the story, shadow figures will clue them in on the last page, and then a prompt instructs them to go back and find more. But this book doesn't highlight the words as they are spoken, nor does it let kids hear words when touched.

Products & Purchases

The Disney Pixar logos appear on the initial intro screen and storybook title page. Click on the mouse ears in the corner and a promo screen with info about other Disney-related apps and tickets for the 3-D Nemo movie pops up along with the ability to change the settings for this storybook. This is an app that tells the story of the Finding Nemo movie, and as such, can be seen as an advertising vehicle for that movie.

Parents Need to Know

Parents need to know that Finding Nemo: My Puzzle Book turns a read-aloud book into an interactive puzzle and seek-and-find game for preschoolers. The modern-day classic story of the brave little fish's return to the sea from a fish tank in a dentist's office will be delightfully familiar to Disney fans of the Finding Nemo movie, while the added puzzles and games add a new twist.

Where to Download

Videos and photos.

Community Reviews

• Parents say
• Kids say (1)

There aren't any parent reviews yet. Be the first to review this title.

What’s It About?

Kids listen to the directions on the first page of the book and start listening to the story. If parents want to read the book to kids, have the kid read, record it themselves, or change puzzle difficulty, they'll need to change that in the settings first. Then, kids simply tap the arrows to flip pages and tap objects on the screen, like seaweed or a fish, to find the interactive puzzles. Young fans of the Finding Nemo movie will likely love the book/game combo on this app.

Is It Any Good?

Colorful illustrations makes FINDING NEMO: MY PUZZLE BOOK pop, and the drama of the original story isn't lost on the small screen. The puzzles and seek-and-find game interspersed throughout the story keep kids engaged. One of the app's options allows you to record yourself or your child reading the story, while other options enable you to change puzzle difficulty, auto-turn pages, and scroll through the story to find a specific page.

Talk to Your Kids About ...

Help kids who can read record their own voice reading the story.

Talk about how Nemo had to persevere to get back to his family. In simple terms, share a situation when you had to persevere to reach a goal or overcome an obstacle, and ask your kid to share the same with you.

App Details

• Devices : iPhone , iPod Touch , iPad
• Subjects : Language & Reading : reading, speaking
• Skills : Emotional Development : persevering, Thinking & Reasoning : investigation, prediction, solving puzzles
• Release date : October 22, 2011
• Category : Books
• Topics : Ocean Creatures
• Publisher : Disney
• Version : 1.2
• Minimum software requirements : iOS 3.1 or later
• Last updated : August 22, 2016

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Finding Nemo 2003

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Finding Nemo My First Look And Find Board book – Picture Book, January 1, 2010

Purchase options and add-ons.

• Reading age 4 - 5 years
• Print length 16 pages
• Language English
• Dimensions 9.8 x 0.98 x 12.09 inches
• Publisher Phoenix International Publications, Inc.
• Publication date January 1, 2010
• ISBN-10 9781412768382
• ISBN-13 978-1412768382
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Product details

• ASIN ‏ : ‎ 1412768381
• Publisher ‏ : ‎ Phoenix International Publications, Inc. (January 1, 2010)
• Language ‏ : ‎ English
• Board book ‏ : ‎ 16 pages
• ISBN-10 ‏ : ‎ 9781412768382
• ISBN-13 ‏ : ‎ 978-1412768382
• Reading age ‏ : ‎ 4 - 5 years
• Item Weight ‏ : ‎ 2 pounds
• Dimensions ‏ : ‎ 9.8 x 0.98 x 12.09 inches
• #383 in Children's Hidden Picture Books
• #2,440 in Children's Puzzle Books (Books)

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