MOANA – Review

2016 appears to be the year when animation truly ruled the box office, perhaps even more than it did 17 years ago. Of course, the still-reigning animated feature king is Pixar, who had the biggest grossing flick of the year with its sequel FINDING DORY. Hot on their heels are the upstarts at Illumination Entertainment and Universal (home of the MINIONS) who had a smash hit with THE SECRET LIFE OF PETS and will be back at the multiplex in just a couple of weeks with SING. We’ve seen films based on established properties ANGRY BIRDS and TROLLS along with another ICE AGE sequel and the fantasy STORKS. The talented folks at Laika (CORALINE) dazzled us with KUBO AND THE TWO STRINGS. Oh, there was even an R-rated (for very raunchy) CGI feature SAUSAGE PARTY Pixar’s sister company Walt Disney Animation (both studios films are released under the Disney banner) had their biggest success since FROZEN with last spring’s ZOOTOPIA. Now they’re returning for “round two” for 2016, and like that Elsa & Anna adventure, it’s a full-fledged all-out musical (with songs by the Broadway’s current “wunderkind”) centered on another fiesty young woman. She’s named MOANA.

The story begins with a primer on South Pacific mythology. Te Fiti is the deity that is part of the planet’s main island, whose heart (a small glowing jewel) is stolen by the shape-shifter Demi-God Maui, who loses the gem when he is lost at sea and stranded on an island. This tale is told by Tala (voice of Rachel House), the mother of Motunui island’s leader Chief Tui (Temuera Morrison), to a group of youngsters. The most attentive is the Chief’s little daughter Moana. As she enters her teenage years Moana (Auli’i Cravalho) is groomed by her folks to rule the island. But she yearns to explore the sea, which her papa forbids. Suddenly the fruit trees don’t produce and the fishing nets are empty. Has nature turned on their home? Tala knows why, and takes Moana to a hidden cave that houses old sea crafts, a remnant of when their people were ocean explorers. The spirits of her ancestors tell her that the way to save the island is to return Te Fiti’s heart (Moana keeps it in a necklace). But she will need the help of Maui. Defying her father, she takes one of the boats and sails away solo (her pet chicken Hei Hei stows away) and somehow finds the obnoxious, arrogant braggart Demi God (Dwayne Johnson). But he’ll only take her to TeFiti’s island if she helps him retrieve his magic fish-hook from the monster Tamatoa (Jemaine Clement). But can Maui be trusted to take Moana past the monsters (like the lava demon Te Ka) and help her save Motunui?

John Musker (THE LITTLE MERMAID, ALADDIN,THE PRINCESS AND THE FROG), with an assist from Don Hall and Chris Williams, prove themselves to be just as great in the 3D (CGI) world (oh, and do see this in 3D if possible). Each shot, each sequence is an exquisite visual delight, true eye candy. Every bit of jungle fauna, every drop of the sparking teal and turquoise ocean, every grain of silky sand seem to pop right off the screen. Speaking of the ocean, it becomes a character itself as it guides and communicates, reminding one of the morphing waters of THE ABYSS. They even sneak in a little classic 2D animation when the tattoos that cover Maui’s ample frame cavort’ thanks to master animator (ALADDIN’s Genie) Eric Goldberg. So, let’s talk about those characters’ designs. Moana is a believable teenage girl, often resembling a teenage version of the heroine of LILO & STITCH given the perfect pouty attitude by the vocal talents of Ms. Cravalho. The look of her grandmother is superbly subtle, never overdoing wrinkles or slower movements. Tamatoa is both frightening and funny with his bobbing, googly round eyes along with Clement’s impeccable comic timing. Moana’s pet baby piglet and the dimwitted Hei Hei are hilarious examples of how well the artists handle pure physical comedies (though they don’t speak we always know their feelings). Ditto for the very funny “coconut pirates”.

The movie’s main selling point (prominent in all the ads) is also the real scene stealer, the memorable Maui. His “block” head with always faring nostrils and bulging eyes are framed by a mass of curly hair parted in the middle (Shemp Howard with a wild perm) perfectly fits his barrel-chested, “tree trunk” torso and overstuffed legs. A great look, but the energetic voice from action star Johnson makes the character unforgettable. He expertly juggles boasts and insults and belts out the movie’s best tune, the infectious “You’re Welcome”, cowritten by the earlier-mentioned Broadway darling Lin-Manuel Miranda (aided by Opetaia Foa’i and Mark Mancina). All the songs are light and bouncy, even though there’s no big break-out tune like “Let it Go” (which may be a plus for some parents). And we get a bonus treat with the clever short “Inner Workings”. It may be a tad too long (we’re drifting at sea for a while before meeting Maui), but MOANA is a gorgeous feast for the eyes and ears. And it’s a delightful island getaway during these cold months.

4 Out of 5