Cast: Auli‘i Cravalho, Dwayne Johnson, Rachel House, Temuera Morrison, Nicole Scherzinger, Hualālai Chung, David Fane, Rose Matafeo, Awhimai Fraser, Gerald Ramsey, Khaleesi Lambert-Tsuda
Genre: Family, Animation, Musical, Comedy, Fantasy, Adventure
Directors: David Derrick Jr., Jason Hand, Dana Ledoux Miller
In Irish Cinemas: 29th November 2024
Shipbreaking involves dismantling a decommissioned vessel piece by piece so its materials can be recycled or reused. It’s a grim and messy process, but undeniably more environmentally responsible than sinking the ship to rot in the ocean’s depths. Similarly, the next chapter in Moana’s story wasn’t initially meant to surface on the big screen. Originally conceived as a Disney+ series, Moana’s further adventures were slated to join the ranks of streaming content. However, the success of blockbuster animated sequels—most notably Frozen II, which earned a staggering $1.5 billion—prompted Disney to chart a new course, transforming the planned series into a theatrical film. With Moana, the fearless daughter of her island’s chief (still technically not a princess), once again at the helm, the feature became the debut project for directing trio David Derrick Jr., Jason Hand, and Dana Ledoux Miller. The result is a patchwork production, a cinematic “Franken-ship” that manages to stay afloat but bears a closer resemblance to direct-to-video sequels than the brilliance of the original film.
Set three years after the events of the first film, the story picks up with Moana in a confident new phase of her life. She no longer wrestles with questions about her identity. She has embraced her dual role as both the future leader of her people and an intrepid adventurer. Her community, too, has fully recognised her accomplishments, turning her into a local hero of near-mythic proportions. The islanders now revere her and the demigod Maui (voiced again by Dwayne Johnson), treating them as living legends. At this point, most Disney protagonists would settle into their “happily ever after,” enjoying a well-earned respite. But Moana’s story isn’t over. She is somewhat awkwardly called away from her idyllic island home for another adventure that pushes her far beyond familiar waters.
One of the strengths of Disney’s original Moana was the clarity and emotional resonance of its “I Want” song, which established the heroine’s deep longing and her sense of purpose. In contrast, the sequel struggles to ground Moana’s new quest in similarly authentic stakes, leaving it feeling forced and artificial. The story begins when Moana discovers a shard of pottery etched with the coordinates of a mysterious island. This revelation proves that her people are not the only ones in the world and sets her on a journey to rediscover the lost isle of Motufetu. Once a vital waypoint for islanders, Motufetu has been cursed by the lightning god Nalo and is now disconnected from the vast network of maritime peoples. As a newly christened Wayfinder, Moana is tasked with breaking this curse and reuniting those separated by the vast oceans.
However, the film needs to improve in establishing compelling motivations for her journey. On the one hand, it gestures vaguely at Moana’s innate curiosity about the larger world beyond her island. On the other, it hints at an unspecified doom that will befall her lush and thriving homeland if it remains isolated. Neither idea is fully developed, leaving the stakes ambiguous and unconvincing. This lack of narrative focus is reflected in the uninspired musical numbers by Abigail Barlow and Emily Bear, whose songs range from forgettable ballads to clumsy imitations of Lin-Manuel Miranda’s signature style. Miranda’s absence is keenly felt throughout, though his influence lingers awkwardly in dialogue that frequently parrots familiar phrases like “knowing the way,” “telling our stories,” and “how far we’ll go.” These echoes of the original film feel like empty branding slogans, robbing the sequel of its identity and reinforcing a lack of confidence in its storytelling.
The sequel’s struggles extend to its characters, both old and new. Moana is joined by many fresh faces, most of whom barely register as more than sketches. Her new little sister (voiced by Khaleesi Lambert-Tsuda) is distractingly cutesy, while her ragtag crew of companions—Loto (Rose Matafeo), a hyperactive builder; Kele (David Fane), a grumpy old farmer; and Moni (Hualālai Chung), a brawny Maui superfan—are underdeveloped and fail to make a meaningful impression. Even the reappearance of a Kakamora, one of the coconut-shaped gremlins from the first film, does little to energise the group dynamics. By the time the credits roll, it feels like these characters were introduced solely as a setup for future adventures, with little effort to give them satisfying arcs in this instalment.
The film’s antagonists suffer a similar fate. The lightning god Nalo, ostensibly the primary villain, remains frustratingly underexplored. Unlike Te Kā, the volcanic island from the first film, who turned out to be a tragic and sympathetic figure, Nalo has no apparent motivation beyond vague malice. He exists only as a series of elemental attacks—lightning strikes, tornadoes, and massive electric eels—without any deeper personality or purpose. Meanwhile, a secondary antagonist, Matangi (Awhimai Fraser), acts as a minor foil to Moana but is so poorly integrated into the narrative that her actions feel arbitrary, as though crucial connective scenes were left on the cutting room floor.
Ultimately, Moana 2 struggles to recapture the magic of its predecessor, weighed down by a lack of narrative clarity, underdeveloped characters, and a failure to justify its existence. Where the original film struck a perfect balance between heartfelt storytelling and breathtaking adventure, the sequel feels like a fragmented attempt to set up future instalments, sacrificing emotional depth and coherence.
The burden of saving the narrative falls to the visual spectacle. Moana 2 excels in this department, gliding effortlessly across some of the most breathtakingly animated water ever seen on screen. The ocean is a constant source of momentum, giving the film an undeniable energy. Everything is in motion—the boats, their passengers, the creaking rigging and straining oars, even the shadowy outline of a colossal monster clam lurking on the horizon. Layered on top of this is an array of delightfully diverse and tactile textures: the splintering wood of ship masts, the slippery absurdity of blobfish slime, and the gritty realism of storm-tossed waves. These elements create an immersive and enjoyable atmosphere, whether the characters are battling a ragtag fleet crewed by bizarre nut-sized pirates or braving the ferocious crescendo of a stormy climax. This film is made for the big screen, with rich visuals demanding an expansive canvas.
However, the same cannot be said for the story, which feels disjointed and aimless—a pale successor to one of Disney’s most celebrated films of the past two decades. The film flirts with profundity, hinting at themes of small-scale teamwork blossoming into widespread unity. It teases a poignant evolution in the dynamic between Maui and Moana, promising a heartfelt twist on their original relationship. But these promising elements never fully coalesce. Instead, the narrative relies heavily on rehashed slapstick and recycled songs from the first film, struggling to carve out a distinct identity. Just as it seems poised to weave its threads into a cohesive whole, an inexplicable, godlike force intervenes, derailing the story in ways that feel arbitrary and beyond comprehension. Ultimately, the film drifts aimlessly, lost at sea, its potential drowned under the weight of its ambition.
Overall: 5.5/10
Movie Reviewer
