suffer a disastrous fate. Unfortunately, Motofetu is guarded by the evil storm god Nalo, who will use his powers against potential visitors. Even more unfortunately, Moana’s demigod buddy Maui (Dwayne Johnson) isn’t available to help her. He’s been taken captive by Nalo’s witch buddy. So, Moana sets sail with a new crew that comprises a big Maui fanboy, a young woman who thinks she’s more intelligent than anyone else, and a grumpy old farmer. They have names, but all the audience will remember about them are their one-note personalities.

Most of Moana 2 details Moana and her crew’s journey to find Motofetu. Along the way, they encounter fierce storms, a fiercer tribe of hostile coconut people, and an even fiercer giant clam. Later, Moana reunites with Maui and the entire crew, plus some assorted allies they pick up, and finally, they reach the island. All Moana has to do is touch the island, and wonderful things will happen. Of course, that’s easier said than done, since the island is underwater. I won’t say how it all turns out, but there’s about as much suspense here as in a typical Roadrunner cartoon.  

Moana 2 has a more complicated mythological backstory than its predecessor, but at heart, it’s the same story. The significant difference is that Maui is trapped in a cave for most of the movie, so Moana has to interact with her human companions on this voyage. And they’re not as interesting, nor do they share the same chemistry with Auli’i Cravalho that Dwayne Johnson does. When Maui is reunited with Moana, his big production number, “Can I Get a Chee Hoo?” lacks the catchiness of the earlier film’s “You’re Welcome.”

That complaint is more widespread than Johnson’s singing effort here. (He exhibited a better set of pipes in the first movie.) While Moana 2 employed much of the same behind-the-camera talent as the first film, one notable absentee was Lin-Manuel Miranda, who wrote the songs for the original movie. His talent is sorely missed here. The team of Emily Bear and Abigail Barlow replaced Miranda and produced a series of serviceable but mostly unmemorable numbers. The one musical exception is “Get Lost,” sung by Awhimai Fraser, who plays Matangi, the witch who traps Maui. That number is a real showstopper, and I hope it gets its proper recognition come Oscar time.

Moana 2 is a visual treat for audiences. The Disney animators make every frame a delight. This sequel is a darker film than its predecessor, and the stormy scenes provide a stark contrast to the more peaceful ones. Maui and his moving tattoos were as entertaining this time as they were in the first movie. Unlike traditional Disney animated villains, the pudgy demigod always appears more of a playful yet often wrongheaded rascal than anything else. I doubt the film would have looked this good as a weekly series, so viewers’ eyes can be thankful for the theatrical release.

The theatrical release demigods did Moana 2 a favor. The movie has a dearth of animated competition for nearly a month on either side, and families should flock to see a more child-friendly film than Wicked. Despite my comments that might imply a different opinion, Moana 2 is not a cheap cash grab. Disney put considerable effort into this movie, and the results bear that out, especially visually and in a talented voice cast. Moana 2 is good family entertainment, a rare gift from the demigods nowadays.