(**1/2)
“Time to start preparing to be who they need you to be.” It’s a calling. Can she answer it?
If you have a little girl who’s looking for someone to admire in a movie these days, the choices are slim. Supergirl had possibilities but couldn’t fly and wasn’t the right material for kids. This PG-rated adventure/musical hits closer to the mark and is appropriate for nearly the whole family, with a tad of mild violence and adult situations. Unlike the aforementioned superhero movie, it won’t give your children nightmares. Also, kids aren’t the ones who will notice the film’s flaws.
This live-action remake leans heavily on computer-generated effects, while taking its cue from the plotline of the previous animated movie Moana (2016,) which earned $687M at the international box office. Its popular sequel Moana 2 (2024) grossed $1.059B worldwide. For those not already hooked on the franchise, the OG storyline is about a teen who tries to save her South Pacific island community from devastation. The folktale pays homage to nations like Samoa, Tonga, Fiji and Tahiti, drawing on Māori, Hawaiian and Samoan mythology. The catchy Oscar®-nominated song “How Far I’ll Go,” by Lin-Manuel Miranda, added to a universal appeal that would make everyone involved want to continue the legend, even if the glow of the 2024 movie hadn’t fully dimmed.
Director Thomas Kail leads the high-caliber, behind-the-camera team. His TV production of Hamilton won the Primetime Emmy Award for Outstanding Variety Special (Pre-Recorded), underscoring his creative credentials. Yet his expertise is in television and not feature filmmaking. Kail is supported by accomplished artists. Oscar Faura’s (Jurassic World: Fallen Kingdom) cinematography, John Myhre’s (Oscar® winner for Memoirs of a Geisha) production design, Liz McGregor’s (Mulan) costumes and the music of Opetaia Foa’i, Mark Mancina and Lin-Manuel Miranda provide all the necessary ingredients. Surprisingly, those elements never fully coalesce.
Even as a child, little Moana (Amaya Masoli) knew the rule: “Nobody is allowed to go beyond the reef on the island of Motunui.” She couldn’t understand why then, and at age 16 Moana (Catherine Laga’aia) is even more perplexed. Especially as vegetation dies around her island community and the fish disappear from nearby waters. Her father Chief Tui (John Tui, Young Rock TV series) is adamant that she obey his decrees. Her mom Sina (Frankie Adams) has faith in her. But her wise grandmother, Gramma Tala (Rena Owen, Once Were Warriors), encourages her to explore. She urges her granddaughter to seek out the legendary demigod Maui (Dwayne Johnson) believing he can help them solve their crisis and assures her that the sea will aid her. Tala encourages her: “The voice inside is who you are.”
It’s easy to distinguish between live action photography and the CGI. Shots of Moana on a boat with telltale green-screen ocean images behind her are often painfully obvious. Small kids may not notice. Others may not care. Some will. It’s odd that Kail and his talented crew let audiences see the seams. When director Jon Favreau adapted the classic story The Jungle Book in 2016, its astonishing computer-generated effects made it impossible to figure out how he achieved his look. So, perfection is possible. The flaws in this live-action production make the animated versions look far superior. Add in the slow, hard-to-sit-through beginning, with characters breaking into song, and early momentum is ruined.
The initial pacing (editor Melanie Oliver, Les Misérables) is off. Patience pays off around the 40-minute mark when the young girl, and future chief, a nice detail, sets out on her voyage. The journey is enhanced by the sea, whose magical powers almost make it a supporting character. Splitting tides like Moses did, building mountainous waves, tossing Moana in the air and pulling her through deep waters—the effects are fun and enchanting. The obstacles pile up, adventure takes over and challenges test her: Coconut-like warriors, an enormous crab and a fiery earth demon. Excitement eventually overcomes the film’s early tedium.
Laga’aia, a largely inexperienced actress, carries the weight of the film with a beguiling blend of innocence and courage. However, the character’s ultra-serious nature needs comic relief. A pig, Pua, and a rooster, Heihei, bring the humor. And the bird is every bit as spunky as the dog Krypto in Superman and Supergirl. Heihei is a silly goose for the entire film, a laugh machine. Speaking of silly, that’s how Johnson plays the poorly bewigged and overly be-muscled Maui. His boorish interpretation of the conceited, down-on-his luck shapeshifter egotist is done with great relish—and lots of ham. He’s very funny. Very campy and a nice, edgy counterbalance to Laga’aia’s earnest performance.
Arguably the most indelible visuals are those of the faces, cultures and people on view. Images we don’t see often in today’s films. Watching Johnson, who is half Samoan, immersed in his own culture, is heartwarming. His presence, along with the film’s spiritual vibe, charming mythology and mystical elements, creates an inviting gateway to this welcoming part of the world. Those qualities shine through even when the filmmaking doesn’t.
The beguiling spirit of this South Pacific fable remains enchanting, even if this live-action adaptation never becomes all it needed to be.
Trailer: https://www.youtube.com/watch?v=jUpaw70iknI
Visit Film Critic Dwight Brown at DwightBrownInk.com.