Moana 2 review:  When there is a will, there’s a wayfinder – Beyond Bollywood

Disney’s Polynesian teen sets course for a new adventure, but the journey isn’t as compelling as the one eight years ago.

Rating: ⭐️⭐️ (2 / 5)

By Mayur Lookhar

Too many cooks spoil the broth, but Disney’s Moana (2016) was an exception. Two directors and seven writers contributed to the story penned by Jared Bush. Disney boldly backed a film that paid tribute to Polynesian culture through an animated musical adventure. 

Eight years later, the sequel sees Bush joined by Dana Ledoux Miller for the screenplay, with the story credited to this duo and Bek Smith. Miller is also one of the three directors, alongside David Derrick Jr. as the primary director, with Jason Hand lending a helping hand. The trio makes their feature-film directorial debut with Moana 2 (2024).

It’s not just its creators, but the lead protagonist Moana (Auliʻi Cravalho), too, who recognizes the need for teamwork. Apart from her pet rooster Heihei, Moana also takes along the cute pig Pua. The wayfinder Moana, however, needs her fellow Motunuians to help her on this new adventure. Convinced that more human life exists on the archipelago, Moana sets sail in the deepest seas to unravel the mystery of the hidden island of Motufetu. Legend has it that the god Nalo cursed the island, and no man can ever discover it. Of course, along the way, she reunites with the demigod Maui (Dwayne Johnson).

Initially conceived as a series, Dana Ledoux Miller, Bek Smith, and Jared Bush later decided on a film. Moana (2016) was more about discovering one’s roots, while the sequel focuses on a larger community goal. In fact, even in the original film, Moana undertook the dangerous voyage in the hope of finding a way to rid her island of blight. The community-driven narrative is a strong idea, but the path that our wayfinder Moana treads in the sequel, though visually vibrant, isn’t as creatively compelling or engaging as in the first film.

Moana’s unconvincing wayfinding crew and their antics bear much of the blame. We have Moni (Hualālai Chung), a brawny but shy Maui fan who often designs ethnic clothing featuring his favourite demigod. Then there’s Loto (Rose Matafeo), a brainy yet quirky member of Moana’s crew. The bizarre choice, however, is Kele (David Fane), a grumpy farmer who hates the sea and is carrying edible plants and fish. More than traditional Polynesians, Loto and Moni come across as new-age funky descendants, while Kele resembles an old Maori version of former US President Barack Obama. When the tide turns rough, Kele mostly hides in the canoe, while Moni and Loto prove to be of little help. The trio’s presence adds nothing to the film. Moana’s pet pig and rooster offer nothing more than a few laughs for the primary target audience (kids).

While the demigod Maui finds himself in another desperate situation, the character has more of an academic presence. Pin that on the writing. The character design and Dwayne Johnson’s tone still make Maui a popular character. You don’t expect a Disney animated fantasy film to feature a demonic antagonist, but there was a fear factor around Te Fiti in the first film. The sequel builds hype around Nola, but save for raising a storm, the devil never really shows up. The closest thing to an antagonist here is the character Matangi (Awhimai Fraser), the underworld goddess Matangi, who is more like a bat woman in the deepest sea. There’s anticipation around her too, but Matangi surprisingly is nowhere to be seen in the climax. Aside from the living coconuts, the Kakamoras, there is no thrill in the rest of the journey.

Maybe the makers sensed that this new voyage isn’t compelling, so they introduced Simea (Khaleesi Lambert-Tsuda), Moana’s little sibling. If Priyanka Chopra imagined herself as an animated Polynesian child, she might resemble little Simea. The character is adorable, but her behavior doesn’t quite match her age. There is an age gap, but the conversations between the siblings don’t reflect that. While it’s fine for Moana to call Simea the little one, it feels a bit off for Simea to refer to Moana as the big one. Thankfully, the child isn’t part of the dangerous journey.

The big letdown here is the music, which pales in comparison to the first film. Awhimai Fraser’s ‘Get Lost, though, has a proper musical feel to it.

Be it the rough seas or the flaky narrative, it is ultimately down to its protagonist to save the day. Even after 8 years, Auliʻi Cravalho still embodies Moana effortlessly, like fish to water. Her tone captures Moana’s resilient voyager spirit, but more importantly, Cravalho brings out the character’s pure soul. Disney does well to offer Moana a fresh sea adventure, though the journey she takes isn’t as thrilling. However, as Matangi puts it, don’t focus on the path—simply get lost and find your way. Doesn’t that hold true in real life too? Often, life is discovered by sailing through uncharted waters.