Movie Review

Disney serves up yet another sequel with beautifully animated Moana 2

Moana (Auli'i Cravalho) in Moana 2.

Photo courtesy of Disney

When Moana came out in 2016, Walt Disney Animation Studios (the non-Pixar side of the studio) was in the midst of a creative boom, having released Wreck-It Ralph, Frozen, Big Hero 6, and Zootopia over the previous four years. In the eight years since, though, the studio has - outside of the stellar Encanto - been in a rut, with studio mergers, a reliance on sequels, and the pandemic all combining for subpar products.

Unfortunately for Disney and fans of the first film, Moana 2 does not break that streak. Moana (Auli’i Cravalho) has become the go-to wayfinder for her tribe on the fictional Polynesian island of Motunui, traveling long distances on her own thanks to her special connection with the ocean. As the film opens, she’s continuing her mission of exploring other islands in the region in hopes of finding other people besides her own tribe.

A message from her ancestors gives Moana fresh hope, and she recruits tribemates Loto (Rose Matafeo), Moni (Hualalai Chang), and Kele (David Fang) to join her on a voyage to an island that may or may not exist. Naturally, along the way they meet up with the demigod Maui (Dwayne Johnson), who’s run into his own issue, being held captive by the bat-obsessed enchantress Matangi (Awhimai Fraser).

On the positive side of the ledger, the animation is as beautiful as ever, with the water and other scenery especially impressive. And the returning actors, including Cravalho, Johnson, Temuera Morrison, Nicole Scherzinger, and Rachel House, all bring nice touches to their performances. The songs, while not as dynamic as those from the original film, provide nice showcases for Cravalho, Johnson, and others.

But the film, which started off as a streaming series for Disney+ before being reworked into a movie, has almost none of the same feeling as the first film. The main plot is not very interesting, mostly because the obstacles thrown in Moana’s way are odd. The filmmakers’ choice to bring in three crewmates for Moana is also strange, as each of the characters acts more like a comic relief figure than an integral part of the story.

Moana and Maui remain the best parts of the film, but because they have to compete with other characters for attention, their collective impact is lessened. Matangi seems like she’s supposed to be the villain of the film, but her presence winds up being confusing. The filmmakers try to force some emotion into the film by giving Moana a clingy younger sister, Simea (Khaleesi Lambert-Tsuda), but like most of the other new elements, she too falls flat.

With any sequel, the hope is that it will recreate the magic that made the first film so beloved. Moana 2, while not as egregiously bad as some other Disney follow-ups, does not offer nearly enough to be compared favorably to its Oscar-nominated predecessor.

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Moana 2 is now playing in theaters.

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Movie Review

The End of Oak Street can't live up to its Spielberg inspirations

Photo by Daniel McFadden

Ewan McGregor and Anne Hathaway in The End of Oak Street.

Steven Spielberg is the iconic director of the last 50 years, so it’s no surprise that many other filmmakers have borrowed from his classic films. But most of the time those come in the form of references or homages, not straight up theft, which is what it feels like watching The End of Oak Street play out in front of your eyes.

Set in the early 1980s in an idyllic suburban neighborhood of an unnamed city, Denise (Anne Hathaway) and Greg (Ewan McGregor) are parents to two teenagers, Audrey (Maisy Stella) and Brian (Christian Convery). They’re also possibly heading toward divorce, as Audrey is secretly writing a novel with a thinly-veiled plot about their life, and Brian is cagey about having to earn extra money with a pizza delivery job.

That all gets put on the backburner when a mysterious event takes their entire neighborhood back to the time of dinosaurs. Armed with little more than a shotgun and sledgehammer, Audrey and Brian do their best to keep the family safe in their house. But the longer the ordeal goes on, circumstances force them out onto the streets and into the increasing danger that’s all around them.

Written and directed by David Robert Mitchell, the film tries immensely hard to be like the Spielberg movies its filmmaker clearly adores, but fails at almost every turn. It never earns the broken family in ‘80s suburbia vibes that were prevalent in E.T., going all in right away in the opening scene with a neighborhood block party that feels forced. Other elements like a bully who has it out for Brian, the family dog that disappears, and an angry neighbor come across as the tropes they are and not as organic parts of the plot.

When it finally gets to its dinosaur sequences, they pale in comparison to those found in Jurassic Park. The strange manner in which the dinosaurs appear is a big part of that, but the action involving them forgoes ominous moments that could build tension for those that play up gore in an unexpected way for a PG-13 movie. Many of the attacks have so little emotional meaning that they come off as comical, which is entertaining but in a hollow way.

As if those weren’t enough, Mitchell - perhaps at the behest of producer J.J. Abrams (who made his own Spielbergian film, Super 8) - tries to honor Spielberg in other ways. Just like in Jaws, he employs the use of a split diopter lens, which keeps characters in both the foreground and background in focus. But instead of using it judiciously, it’s brought out in three separate scenes, including a laughable one with the four family members where it turns into overkill.

Hathaway, coming off of a role in The Odyssey that could earn her an Oscar nomination, is the best part of this film. But even her evident skills are dragged down by the ridiculousness of the story, which requires hysterics that even she can’t sell. McGregor can normally be counted on for a good performance, but he gives several line readings with strange cadences that make his already-underwritten character come off worse. Stella and Convery are okay, but their roles are unmemorable overall.

Mitchell and his team can never settle on exactly what type of film they were trying to make, and so even though The End of Oak Street has a few moments that work, they’re surrounded by many others that don’t. In trying to emulate Spielberg - there’s even a blatant Back to the Future (produced by Spielberg) rip-off towards the end - all Mitchell has done is show how difficult it is to be the master.

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The End of Oak Street opens in theaters on August 14.