Although some sequels feel like little more than cash-grabs — and Disney, of late, has been particularly guilty of this — 2016’s Moana definitely deserved a second chapter.
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| In an effort to help get the grumpuy Kele into the spirit of things, Moana (far left), Moni and Loto do their best to turn his frown upside-down, during a lively song (which is only partially successful). |
Moana’s bold, sea-faring nature is re-introduced here via composers Opetaia Foa’I and Mark Mancina’s up-tempo tune “We’re Back” — a lively, Broadway musical-style anthem very much in the mold of “Belle,” from 1991’s Beauty and the Beast — which also showcases this story’s new and returning key players.
As this second chapter begins, Moana (again voiced with robust intelligence and spirit by Auli’I Cravalho) once again is visited by the spirit of her beloved Gramma Tala (Rachel House), who warns that a long-ago curse has isolated Motunui from numerous other Polynesian communities ... and that, thus divided, all will perish.
The only way to break the curse is to travel distant seas to the sunken island of Motufetü, which is guarded by Nalo, the god of storms.
This time, Moana has the full support of her parents: Chief Tui (Temuera Morrison) and Sina (Nicole Scherzinger). Alas, 3-year-old toddler sister Simea (Khaleesi Lambert-Tsuda) is quite upset, fearful that her beloved “big sis” might never return. Simea is the spitting image of toddler Moana from the first film’s introduction, and an adorable addition to this expanding cast.
A journey of this magnitude will require a larger canoe, and an able crew: Loto (Rose Matafeo), a genius problem-solver and proto-engineer whose chaotic enthusiasm often overwhelms her common sense; Moni (Hualalai Chung), the community’s designated story keeper, who whips out drawings in nothing flat; and the grumpy Kele (David Fane), an elderly gardener who will tend the “canoe plants” that wayfinders need, to survive long journeys.
All three are well-conceived characters, granted considerable personality by the voice actors.
Conspicuously absent is Maui (Dwayne Johnson), the (self-professed) awesomely capable, shape-shifting demi-god who just about ran away with the first film. He’s glimpsed only briefly, very far elsewhere, losing a skirmish with a sinister trickster figure later revealed as Matangi (Awhimai Fraser), airborne leader of a coterie of flying foxes.
Maui doesn’t show up properly for quite some time, which I deem one of this film’s flaws. Although it’s possible co-directors David G. Derrick Jr., Jason Hand and Dana Ledoux Miller feared that Johnson’s admittedly oversized personality might overwhelm the story’s title character, the demigod is nonetheless absent for too long.
Moana’s crew also includes her beloved pet pig, Pua — who sat out the first film’s adventure — and Heihei (Alan Tudyk), the adorably dumb and clueless chicken who proves oddly useful at times. Both critters function as well-employed comic relief and sight gags.
Everybody’s role on board is clarified by the equally lively ensemble song, “What Could Be Better Than This,” with which Moana rallies the team, while displaying an unexpectedly goofy side of her personality.
Moana’s other key ally is the ocean itself, with which she shares an unshakeable bond.
The seafaring sequences are exhilarating, with Moana, Moni and Loto dashing about the canoe to raise, lower and move the sail, tacking and jibing according to wind direction and ocean swells. The animation editing here is superb, and significantly enhanced by sweeping panorama shots that feel like real-world cinematography.
The tiny, fierce and coconut-tressed Kakamora warriors return, once again manning immense DIY vessels that appear to have been borrowed from George Miller’s Mad Max universe. One Kakamoran, Kotu, plays an important role in what follows.
The journey proceeds in reasonable fashion, until our heroes encounter the massive, island-sized giant clam that guards the entryway to Motufetü. At this point, what has thus far been a logical, comprehensible quest enters the realm of absurdly random peril, which Moana — and her comrades, and their canoe — survive only because the script demands as much.
On a positive note, Maui joins the gang at this point, with his expressive, two-dimensional “Mini Maui” tattoo serving as a silent Greek chorus, to the demigod’s often “disappointing” behavior. This ongoing sight gag is as hilarious as the antics involving Pua and Heihei (and that little pig has an extremely expressive gaze).
Maui also gets the film’s third cool song, “Can I Get a Chee Hoo,” which showcases Johnson’s charismatic personality for a mirthful “pump-up” song when Moana feels overwhelmed.
Alas, the film comes to a dead stop when Moana encounters Matangi, who seems to exist solely to deliver a time-wasting and thoroughly unsuccessful diva tune titled “Get Lost.”
Even more bizarre, Matangi vanishes from the film, after this sequence ... despite a suggestion that she should pop up during the postlude. That’s just sloppy plotting, by writers Miller, Jared Bush and Bek Smith.
Such quibbles aside, the film is flamboyantly colorful, moves at a brisk clip, and — once again — the focus on Polynesian culture is by turns engaging, fascinating and deeply spiritual. Nor can the returning emphasis on girl power be ignored; it’s terrific to see the action carried by such capable young women (with an able assist from the always hilarious Johnson’s Maui).
Based on all the enthusiastic moppets at Monday evening’s preview screening, kids — and their parents — will flock to this film.
Even so, the writers should have tried a little harder.
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