Moana 2

Though it doesn't have an accompanying short film, there's a small bit at the start of Moana 2 that does a similar job. A hermit crab looks to move into a bigger shell, and that process is not without difficulty. It's a parallel for Moana's own quest, to reunite her island with others, to find room to grow. In the process it's an entertaining story that hits many of the same high notes as the first film. There are some place where its status as a sequel seems to be setting it out as a stepping stone to further stories, but that is the nature of Disney's leverage of intellectual properties. That includes a forthcoming live action remake of the first film, so there are moments where one wonders if Moana 2 is a franchise laying groundwork for a second attempt at its first outing.

Auli'i Cravalho returns as Moana, and though their adventures start separately it will come as no surprise that she again crosses paths with Maui. Dwayne Johnson's charisma is ably channeled by the animators, the film again manages to balance the astonishing realism of textures like hair and sand and water with character designs that verge on the impressionistic. It's a more difficult balancing act than a chicken on a rock and one that means Moana 2 is a delight on the big screen. There's so much detail, even by implication, and many of the more important artefacts reappear in high resolution over the credits.

It's a scene within the credits that sets up potential further adventures, though those who stay to the very end will just get treated to high definition fireworks around a virtual version of Disney's castle. That scene brings back a fan favourite from the first but it's a less knowing wink to the audience than a moment where Maui's tattoo looks directly to 'camera'. Given the open nature of the settings it's surprising that there are any walls to break, nevermind fourth ones.

There are other familiar voices, including some new to Moana. That includes Kiwi comedian Rose Matafeo, the Junior Taskmaster herself as island inventor Loto. Hualalai Chung is librarian and weaver Moni, far from alone in being a fan of Maui. There's a nod to transformative works as well as historical ones - one of his tapestries is described as 'fan fiction'. David Fane's turn as Kele the grumpy farmer is one of several places where it feels like there's been a nod to Waterworld but that might be me showing my age. He certainly does, though audiences of any vintage are likely to be amused by a visual gag that implies his involvement in an eyeful of bumhole.

The songs are good, Get Lost sung by Awhimai Fraser's Matinga is a different take on exploring. The use of the words 'trust in me' in its lyrics draws from a deep well of Disney dastardliness. Elsewhere belter Beyond builds on the first film's How Far I'll Go. Can I Get A Chee Hoo allows Johnson the chance to indulge his musical talents, and as much as it feels influenced by Lin Manuel Miranda it does make me wonder if the man who wrestled as The Rock would ever take on the tag-team of Gilbert & Sullivan. The songs also include several not in English, part of a concerted effort to accurately depict the ways of way-finding.

There are some scary moments, but the threat is mostly impersonal. Standard seagoing fare like storms and whirlpools, giant clams and an intervention from the Kakamora. Those are the little coconut-armoured guys, and while they've better mythological support than the Minions they're equally adept at mischief and menace.

A collective effort behind the camera includes a group of consultants for the various depictions of multiple Pacific island cultures. David G Derrick Jr and Jason Hand get their first directorial credit, though they've been involved in many previous animated features. Dana Ledoux Miller has a short to her name, and in addition to co-directorial duties contributed to the script. Jared Bush returns from the first film behind the keyboard, and Bek Smith who contributed to Maleficent also has a story credit. Bryson Chun provided the somewhat vague 'additional screenplay materials' but one suspects that this includes that representation mentioned.

Behind the other kind of keyboard Abigail Barlow, Emily BEar, and Opetaia Foa'i contribute songs. These are all entertaining, though inevitably some stand out more than others. They manage to straddle two sets of traditions, those of those whose stories inspired this in real life and the Disney films whose own stories and traditions inspired this one. Mark Mancina's score is good, though in an extensive composing career which includes Planes and Con-Air The Assassins he worked on was not Steven Sondheim's.

I can't speak to fairness, and my assertion that nothing depicted gave me pause or concern doesn't hold much weight. I can say that I felt Moana 2 continued along the path charted by the first film and finds treasure on the way. While its eponymous protagonist may not be a princess she's found her place in Disney's pantheon, and deservedly so. Moana 2 is bright, breezy, and in cinemas during a bleak winter it's a ray of sunshine in more than one sense. The first film asked how far Moana could go, and the second makes it clear that she's still performing beyond expectations.