Dora the Explorer was seven years old when audiences met her on television, a sing-songy polymath who traveled the map seeking answers and solving puzzles, accompanied by a big-mouthed backpack and…
), who quips, “If you just believe in yourself, anything is possible,” before plummeting down a dangerous chasm, effectively demonstrating that positivity will only take one so far. Raised in the jungle by a pair of archaeology professors , Dora is sent off to attend high school in Los Angeles with her cousin Diego just as her parents set out to find the legendary city of Parapata.
So far, so basic. Still, it’s important to keep in mind that the target audience won’t have seen the countless jungle adventure movies that “” is actively recycling — and even then, the genre dates back so many decades, even the previous generations’ reference points were effectively pieced together from earlier examples of the same. More important for them will be the question of how this live-action adaptation chooses to treat their favorite elements of the cartoon.
Though DP Javier Aguirresarobe makes those fantasy landscapes appear suitably lavish, director Bobin has wisely decided not to strive for realism here — an artistic choice that makes the frequently unconvincing visual effects seem more endearing than disappointing. That pays off particularly well in a field of enormous pink flowers, which trigger a hallucination many will consider the film’s high point.
“Dora and the Lost City of Gold” goes out of its way to establish that the character isn’t a tomb raider or treasure hunter, but rather an explorer, risking her life for the love of knowledge. That makes her perhaps the most “woke” big-screen adventurer since the invention of cinema, making Indy’s indignant, “That belongs in a museum!” seem so 20th century by comparison. As Dora and her friends sing over the end credits, “We came together, that’s the real treasure.
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