Moana and Maui set off on an adventure again, but they get a little scattered [critique]

Eight years later, the Pacific adventurer is still just as curious and endearing. Unfortunately, his new story lacks the strength and originality to fully convince.

In 2016, John Musker and Ron Clements (Aladdin, Hercules…), delivered a great adventure with Vaiana, the legend of the end of the worldjourney of a young girl (Auli'i Cravalho, in VO, Cerise Calixte in VF) raised with respect for nature and the traditions of the Pacific, but in search of maritime adventures far from her family, whom she left to team up more or less despite herself with a very self-confident demi-God, Maui (Dwayne Johnson/Anthony Kavanagh). They took a timid chicken on board, encountered coconuts as aggressive on their warships as the pilots of Max Madand they helped each other to better thwart a sad ancestral curse. All in songs, several heady pieces having been composed especially for the occasion by Lin-Manuel Miranda (Hamiltonand from behind Encanto at Disney). Notably the very successful “You're welcome/For men”by the deuteragonist Maui, which in addition to being catchy, was exceptionally illustrated in a 2D animation style.

This piece alone perfectly illustrated the general idea of ​​Moana, the studio reconnecting with its own tradition by returning to the great animated musicals such as Beauty and the Beast Or The Little Mermaidwhile modernizing it with its new culture to celebrate and its refusal to follow a classic princess falling in love with a handsome prince.

Vaiana, the legend of the end of the world, a very great Disney [critique]

For this sequel, the general idea remains the same, with Moana being led to experience a new adventure on the seas, without any romantic consideration. She had to leave to reconnect with her ancestors, this time, she is leaving hers to create links with new peoples, and prepare for a common future. Maui is going through his own adventure, but destiny will bring them together again, and this time, they will be immediately happy to team up.

The directors have changed: David G. Derrick Jr., Jason Hand and Dana Ledoux Miller, all animators and/or writers on recent Disney films such as Raya and the Last Dragon Or The Madrigal Familytake charge, each for the first time of a project of such magnitude. The composers/lyricists have also been partly replaced: Opetaia Foa'i and Mark Mancina are still there, but Abigail Barlow and Emily Bear (Grammy Award winners), succeed Miranda. This significant change of team, associated with the fact that initially, Moana 2 was designed as a TV series and not a cinema film, undoubtedly explaining the impression of repetition, even of lack of ambition, which emerges from this n°2.

Let's get along well, this new Moana retains undeniable qualities: the flow still flows well between the main duo, the songs are dynamic and their lyrics integrate fluidly into the story, the tattoo game remains perfectly entertaining, the beauty of the oceans and sea creatures is well there, and we don't get bored for a moment. Which is already a lot for a sequel from Disney, a company which has long produced low-end DTVs to ride on the success of its animated classics.

The problem here is that by wanting to start again on the same bases, the good times of Moana 2 have often already been done, better, in the original film and/or in Encantohim again, who seems to have inspired here the theme of sorority or the prophecy to be thwarted, as well as a large part of the pieces (the presentation of the village in the opening at Mirabel, the new title of Maui staged as “Beneath appearances” of Luisa, etc.).

The team behind this sequel is also perfectly aware of this heritage of Moanaseveral jokes “meta” being for example made on the reception of the first film, very popular with children (Moana breaks records for streaming views since Covid, and not just on Disney+), or on the fact that no, she is still not a princess. It could be funny, if this way of recycling one's works and making fun of them had not become a studio cliché, especially at Marvel where the floodgates fly, and often destroy any attempt at emotion. Here, fans will at least be delighted that Pua (aka Bacon) this time participates fully in the adventure, the production having heard the frustration of spectators disappointed that the heroine is not accompanied by her animal kawaii throughout his first journey.

If Moana 2 looks a lot like its predecessor, we still find some new features… which go a little in all directions: the great idea of ​​bringing back the evil coconuts turns into overkill, for example. But above all, as the ending clearly opens towards new sequels (not to mention that The Rock is currently touring Moanathe live action version of Moana), this gives this episode an anecdotal side, where the first film landed perfectly on its feet. The post-credits scene justifies the abandonment of a key character along the way, a good illustration of the shaky aspect of this story. What could it have looked like in series form, with episodes focusing on new heroes and “bad guys” deeper? We'll never know, but the fact is that by shortening a serial concept into a film of less than two hours, the cuts are palpable. We barely have time to become attached to the heroine's little sister when she has to leave her with her parents to set off on an adventure again. Once his crew is composed – and presented to the public in song, obviously – it will take a back seat when Maui is fully back. The bat woman will just have time to perform a motivational piece to Moana before she will in turn be forgotten… To experience a new great adventure of Moanawe will obviously have to wait until number 3.

Moana, The Little Mermaid, Aladdin… John Musker and Ron Clements comment on their film