Moana

In the world’s current situation, a film that can make you laugh, cry, and leave with a warm, fuzzy feeling is desperately needed. The newest Disney princess film, Moana, is the answer.

The storyline follows Moana Waialiki (Auli’i Cravalho), daughter of Chief Tui (Temuera Morrison). Growing up on a South-Pacific Island, she is forbidden to ever venture further than beyond the confines of the reef. However, when her homeland begins to wilt and die, she must accept the ocean as a new comrade (yes, they really made the ocean a cutesy sidekick), set out to find demi-god Maui (Dwayne Johnson), and save the world. Along the way, they encounter dangers ranging from entirely ridiculous little coconut/pirate/demon things, through to a mildly terrifying shiny crab and the misunderstood (but no less dangerous) lava monster. Although the storyline seems a little bizarre, it is based on genuine legends from several South-Pacific Islands, providing a marvelous opportunity to revel in the stories of sun-drenched beaches, and escape the drizzly realities of 2016.

One of the most notable alterations to the usual Disney Princess offerings is the total lack of romantic storyline – this is wonderfully refreshing. The heart of the film instead comes from the relationships between Moana and those around her. The storyline with her parents delicately walks the line between loving her family and following her own path – she does this, surprisingly, without a single utterance of “YOU DON’T UNDERSTAND ME”. Her grandmother, played by Rachel House, gives wonderfully eccentric relief, being the don’t-give-a-damn OAP that I think we all aspire to be. The relationship between Maui and Moana stays platonically teacher-student, with a sweet development and a high level of personal growth. Although the trope of ‘arrogant, muscled lead learning to open up and care for others’ is a bit old, the moments of vulnerability are touching, and the interaction with another cute sidekick in the form of a mini tattoo version of himself make it less stale.

Another notable difference is the soundtrack: in a move away from traditional Disney films, the songs are not stand-alone belters, but instead there is more of a feeling of a real musical, with melodies introduced in the beginning weaving throughout – with the exception of the horribly creepy crab song. The presence of Lin-Manuel Miranda (of Hamilton fame) is heavily felt, and all for the better.

The stunning backdrop as they sail across the oceans, combined with the heart-warming storyline and enjoyable music, means a successful evolution for Disney princesses. The music, message, and lead princess’ body proportions (she actually looks human) are very welcome changes. If you want a serious highbrow movie, then this isn’t your film, but if you want a warm hug of a film with a few tears, messages of self-love, and acknowledgement it’s okay to get fired up every so often, then you will love this film as much as I did .