Moana 2

The venerated Walt Disney Animation Studios has had an odd relationship with sequels. For a long time, follow-ups to its animated classics were largely outsourced as DTV cheapies (who remembers Lady And The Tramp II: Scamp's Adventure?). On the other hand, its most successful film ever is the billion-dollar-grossing Frozen II. Moana 2 has had a similarly confusing journey to the screen: it began life as a TV series, before eventually changing course and making the leap to the big screen.

And thank goodness it did — because this quality of animation deserves every inch of a cinema screen. A retread that plays it relatively safe, Moana 2 hardly reinvents any wheels (or whales), but it is still delightful, charming, and gorgeous to look at, the new directing trio of David Derrick Jr, Jason Hand and Dana Ledoux Miller staying true to the integrity of the 2016 original’s story: more seafaring adventures with the titular Polynesian teenager (Auliʻi Cravalho) and her shape-shifting, tattooed demigod pal, Maui (Dwayne Johnson).

Set years after the events of the first film, we’re caught up, as you might expect, with a toe-tapping expository song. The village, we learn, is now lush and thriving after Moana rescued it from doom, and she is now a minor celebrity, a ‘wayfinder’ whose signature hair-whip is mimicked by superfans, among them her outrageously adorable puppy-eyed little sister, Simea (Khaleesi Lambert-Tsuda). But the ancestors are still calling: her isolated community needs to find other peoples beyond the horizon. So she sets sail again.

This is animated fun of a very high standard

Moana is still a hugely engaging hero, especially for young girls, a peppy and endearing theatre-kid-esque goofball, and Cravalho still has an impressive set of pipes, especially in new signature song ‘Beyond’. Dwayne Johnson’s Maui leaves slightly less of an impression — his song, ‘Can I Get A Chee Hoo’, is not quite the pleasingly cocksure earworm of ‘You’re Welcome’. (The first film’s chief songwriter, Lin-Manuel Miranda, did not return for the second film.) But Maui and his magical fish hook are still the franchise’s secret weapon: as soon as the People’s Eyebrow pops up on a shape-shifted shark, you’re having fun. It remains, outside of a Fast & Furious film, Johnson’s best role.

Moana has plenty of help this time, in fact: along with old pals — including a furry pig, a scene-stealingly stupid, boggle-eyed chicken (voiced by Juilliard-trained actor Alan Tudyk) and a high-fiving, anthropomorphic, Abyss-style ocean spirit — she is also joined by a new crew. You sense that these characters might have had more to do in TV form, but they’re still very fun. As whimsical boat engineer Loto, comedian Rose Matafeo in particular gets a pacy, Miranda-esque solo, while Taika Waititi regular David Fane has a nice turn as a grumpy farmer who can’t swim and hates songs. Even the coconut-headed Kakamora enjoy an emotional character arc of their own.

The songs, about working together, living up to your responsibility, and “destiny in motion”, are typical of modern Disney films, as is the sense of wacky peril. Yet despite the constant danger, there is no straightforward antagonist here, other than a cursed storm; in effect, the real villain here is bad weather. Which is fine, actually: it leaves more room to luxuriate in the stunningly rendered oceanic fantasy mythology.

This is animated fun of a very high standard — Maui’s luscious locks have never looked silkier or better-conditioned — and storytelling that leans on formula without being reliant on it. And, as with the first film, there’s a sense that Disney isn’t looking to repeat mistakes of the past, celebrating the Polynesian culture with its rituals, dancing, singing and stories rooted in authenticity. Also, there’s a very funny boggle-eyed chicken.