Moana 2

The Disney sequel plays it too safe

Under returning CEO Bob Iger, Disney has turned to producing less content and linking to proven properties. As such we are getting less obscure Marvel characters, a pause on Star Wars films, and emphasis on Toy Story and Disney princesses. One of Iger’s first creative moves upon returning was to change a Moana series into a film sequel, which has finally hit the big screen.

Moana 2 (2024) is the follow-up to the 2016 film set in ancient Polynesia. We follow eponymous protagonist Moana (Auli’I Cravalho), who is now a Wayfinder, tasked with exploring the seas and look for other communities, after generations in isolation. On her quest she discovers that this isolation is due to supernatural elements. Moana must team-up with her friend, demigod Maui (Dwayne Johnson), to find a missing island that will serve as a beacon for severed civilizations.

Moana 2 is directed once again by a trio of people, but none who worked on the original. David G. Derrick Jr., Jason Hand, and Dana Ledoux Miller are all veteran animators, but this is their first time helming a film. The result, along with the corporate push towards safer bets, is a risk-averse Moana 2, which delivers a by-the-numbers Disney musical.

Moana 2 attempts to grow its world and mythology, drawing from the seldom-explored Polynesian culture. This deep dive into new legends and creatures is brought to vibrant and colorful life by the remarkable animation style, which blends the cartoon with realistic renderings of water and hair in breathtaking fashion. However, with an expanded story, characters, and world comes dilution and distraction. We get various side-characters that never stray from being caricatures, and side-plots whose removal would not affect the story in the slightest. The finale is fun, if predictable, but you are wont to let yourself be swept into cheesy emotional moments. However, in crucial dramatic moments, Moana 2 teases at bold consequences for its characters, only to backtrack them for timid retouches affecting the protagonists.

The absence of composer Lin-Manuel Miranda is notably felt. His songs in the first film, from the inspiring “How Far I’ll Go” to the crowd favorite “You’re Welcome,” have become absolute classics. Moana 2 delivers serviceable, if forgettable songs, that do their job to carry the story forward. However, I don’t imagine I’ll be downloading any of them to my music library. For a Disney musical, songs and themes are key to its emotional heft, and while there’s no disrespect to the perfectly passable work in Moana 2, the lack of any melodic or lyrical inspiration or risk is noticeable.

In the end, Moana 2 signals Disney Co.’s larger trend towards more fiscally and creatively conservative programs. It’s a natural move for an embattled film industry, but a sad one to witness, as risky bets are what made the first Moana possible. What sounds riskier than an animated musical about a Polynesian girl who likes to sail and has no romantic interest? Let’s hope Disney and Iger don’t abandon their risk-taking ventures completely.  

6.6/10