This film might not have managed to hit the emotional complexity that Chazelle intended, but it certainly gets you a dazzling high.

‘Moana’ is traditional Disney, yet has a much more vaunted ambition of imparting life lessons -by going back in time, mining from the ancient folklore of Polynesian culture and myth, never seen before in mainstream Hollywood cinema. The film has an intriguing mythology of demons and demigods, inspiring a creation story with ancient fantasy that’s never been so wonderfully rendered.

The set designs are out of this world, Colleen Atwood’s costumes makes the era come alive and the CGI is both inventive and affective. The story may not make much sense altogether, but the magical experience thereof is never limiting. This is, by far, the best Potter movie — even if it is not about him.

The camerawork and CGI are quite immersive. Mind bending sorcery, multiverse battles, time space interjections and more come into play so easily that it almost seems like a daily occurrence. This film may not have the playfulness of a ‘Guardians of the Galaxy’, but it certainly makes for an adequate fire-starter of sorts.

It’s entirely up to Emily Blunt to save the film from becoming just another ‘Gone Girl’ wannabe. It’s largely her well-endowed, entirely relatable performance that lends memorability to the experience while rescuing it from being just another serviceable thriller.

The tempo is little more than snail’s pace and the visual enticement doesn’t quite lend it’s wings to a narrative that wallows in a marginal fantasia that’s impressive but not quite enticing!

This film is much closer to the spaghetti western of yore and is not likely to go down as a class act in itself.

The continuity is sloppy in places and the editing is not as sharp as was needed. The direction though is pretty much comedy enriching. The lead actors do a good job but it’s really Emma Thompson as the Gynaec who is handling Bridget’s pregnancy, who mixes it up and raises the game to a few laughs more. This exercise may not be as fresh and robustly energising as the first salvo but it’s certainly better than the previous one.

The film, shot in Imax cameras is visually impressive given the magnitude of the format and the seamlessness of the visual effects. Blu Murray’s editing serves up a pace that seems so unlike the traditional Eastwood that you’re likely to be far more edgier here than you were while watching any of his earlier films. This is an experience that will leave you entertained for sure!

It’s a largely on-set exercise in terror and it’s played out in real time with a never ending series of challenges thrown-up for survival against all odds -so the increase in heart rate is quite palpable.