“Moana,” released in 2016, stands out as my top choice among Disney’s animated films in recent times. There are many wonderful aspects to highlight about “Frozen,” “Zootopia,” “Encanto,” and others, yet “Moana” stands out with its universally appealing protagonist, clever physical humor, and a collection of unforgettable songs, elevating it slightly above the rest.
Upon hearing the announcement of a seemingly hurried sequel earlier this year, I felt a wave of apprehension wash over me. What if the latest film turned out to be such a letdown that it tarnished my view of the original? Having watched the film, I’m pleased to say that my appreciation for the original remains intact despite this disappointing sequel.
The story unfolds three years following the original, showcasing Moana (Auli’i Cravalho) as her island’s leading wayfinder, expertly navigating the seas. The community is flourishing, and she’s slowly uncovering hints that may, with any luck, guide her to uncover additional islands with communities ready to be embraced. However, she is struck by a vision revealing that if she does not locate the distant island of Motufetu in the near future, she will lose everything she cherishes. She assembles a motley team that features the enthusiastic builder Loto (Rose Matafeo), the surly farmer Kele (David Fane), the bumbling historian Moni (Hualālai Chung), along with her pet pig Pua and the chicken Heihei, embarking on a journey filled with more uncertainty than she has ever faced before.
During her journey, she encounters a familiar foe: the tribe of intelligent coconuts called Kakamora. The two factions clash until they realize that they both require assistance in locating Motufetu, leading one of the Kakamora to join the mission as a formidable enforcer. Shortly thereafter, the crew is engulfed by a massive clam, serving as the lair for the new antagonist Matangi (Awhimai Fraser), who has taken captive Moana’s former companion, the demigod Maui (Dwayne Johnson). Interestingly, Matangi also requires Moana’s assistance in locating Motufetu, although her intentions may not be as noble as the Kakumora, who simply seek to return home.
Now that Maui has officially joined the team, they are in a race to reach Motufetu before the displeased god Nalo (Tofiga Fepulea’i) can unleash his storm-summoning abilities to thwart their progress.
Gradually, the shortcomings of the initial film begin to emerge. New songwriters Abigail Barlow and Emily Bear make a commendable effort to create an anthem for Moana that rivals “How Far I’ll Go,” yet “Beyond” ultimately doesn’t quite reach that level of impact. “Get Lost” from Matangi doesn’t quite leave a lasting impression as a villain song compared to “Shiny.” Regarding Maui, “Can I Get A Chee Hoo?” is a significant drop from “You’re Welcome,” reflecting Johnson’s own diminishing star power. The weariness of his animated antics, which seem to seek the spotlight even in a cartoonish setting, stands out as a major flaw in this film. Additionally, the excessive dependence on crude humor involving creatures and their bodily functions detracts significantly from the overall experience.
I still recommend the movie. Cravalho delivers another strong performance; the new characters are engaging, the humor lands well, and the overall vibe is pleasant for an animated journey. There’s nothing here that would lead me to oppose the “Moana” brand, which is fortunate, as we can expect to see much more of it in the future.
