The much-anticipated follow-up to the smash hit Moana hit cinemas at the same time as Wicked Part One, and I can guarantee you I chose Wicked over my beloved Disney, mainly because it was something new and, who doesn’t love an over-hyped mega release. However, my need to consume Disney content as much as possible finally caught up with me, and I got to check out Moana 2.
I wish I were as excited as the young kids at the cinema going to see this new offering from the Moana team when I was in another cinema watching Wicked, as they were genuinely brimming with joy, causing havoc, running around the cinema waiting areas, singing the songs and pretending to be a wave finder, it was adorable, and of course, incredibly obnoxious. As I, a nearly 50-year-old Disney ‘adult’ headed into the screening, I didn’t have the same excitement. I felt underwhelmed by the promotion for the movie. At max, all we got locally was a duo of songwriters showcasing their talents, and yet not including any of the vocalists that were Pacific Islanders on any of the press moments. Although the songwriting team were incredibly talented, it was a wasted opportunity for Disney not to showcase the various Moanas available across the globe currently, from the cruise ship performers to the new musical cast and other live-action vocalists who both physically and vocally embody the fantastic character.
The other thing that didn’t help was persistent rumours that the movie wasn’t meant to be a movie. Yet, it was prepared as a TV series for the streaming platform and due to public demand as well as the “if it’s a movie we need” addition of Dwayne ‘the Rock’ Johnson as Maui made a big change and became an actual movie – brings us to this point – this rumour explains a bit of lore for the franchise, with the addition of new characters, like the Maui obsessed Moni (voiced by Hualalai Chung) who could have replaced him in a TV series if Disney didn’t want to pay the megastar to appear in a TV show… I do not know how much of this is real, but all I can say is I watched the movie with this in mind. The movie feels like it was a three-parter mini-series or the first season of a TV series joined together by a soundtrack that Disney could release to annoy parents of 8-year-old girls and friends of 48-year-old gay men.
Overall, if you watch Moana 2 as a stand-alone, you probably won’t notice, but it may leave you thinking it was a little more clunky than the first one.
I liked this iteration because it paid more tribute to Pacific Islanders’ culture and island heritage. The characters were more fleshed out and didn’t feel like a 21st-century Disney adaptation—they felt a little more faithful to the people they claimed to represent. This is a great thing. It would be nice to know what PI people think of the movie, but as I am not one, but I live in the general area, it ticked some boxes for me.
The music was appropriate and a perfect introduction for the new composing team. After this presentation, I am sure they will go on to compose more for Disney features.
All in all, this is a strong story that not only pays tribute to the first movie but also outlines an option for Disney to continue this story of Pacific Island Peoples as a saga in future movies or TV series. It was crafted well and brought this old cynic to tears a couple of times.
I hope they keep the Moana journey going. It is a brilliant story arc for Disney, and as long as it does not fall into the Stitch Television storytelling style, it could solidify its place among the great Disney Intellectual Properties of all time.
4.5/5 Stars
Rob is the founder of GTG. Launching the GTG-Sydney brand in 1995, it has gone from a VHS tourist guide for Sydney to a global phenomenon, partnering with Pride events and special events and charities all over the world, raising millions of dollars for the LGBTQIA+ communities and showcasing our big gay world to anyone who wants to join in the fun.
Rob is a trained marketer and journalist. An Emmy award winner, a NIDA-trained TV Presenter who has been on digital channels, cable and terrestrial broadcast television globally as a presenter, producer and creative.
He is currently editor-in-chief and producer of GTG and the co-host of The Unfashionably Late Podcast.