Here’s the pitch: Avatar (2009) with beavers. That sentence alone sounds like a fever dream, but that fever dream is also the central premise of Pixar’s latest original outing, Hoppers. At least, that’s how I initially perceived it. But, as Dr. Sam (Kathy Najimy) assures our main character, Mabel (Piper Curda), it’s nothing like Avatar, really.
Instead, we get Pixar’s wackiest and weirdest outing to date. In the world of Hoppers, scientists have harnessed technology to put human consciousness into lifelike robotic animals to communicate with and study wildlife. Meanwhile, Mayor Jerry (Jon Hamm) begins construction on his new highway, a project threatening to bulldoze a beloved glade shared by animal-lover Mabel and her grandmother (Karen Huie). When Mabel discovers the “hopping” technology, she seizes the opportunity to infiltrate the animal world as a beaver and put a stop to Mayor Jerry’s project.
The premise is a big, bold swing from director Daniel Chong, best known for his animated series We Bare Bears (2014), but it’s so committed to its premise that he actually pulls it off. Chong harnesses all the zaniness and infuses it into every corner of the film, crafting a jolt of electricity the Pixar slate desperately needed.
The vibrant, adorably animated characters are packed with palpable personality. While it feels in line with Pixar’s previous work, there’s a distinct style behind the way they move and emote that sets it apart from the pack in an exhilarating way. It also enhances the film’s comedic devices beautifully. When the animals communicate with one another rather than with humans, the animation subtly and precisely shifts to illustrate the communication barrier and punch up the comedy.
Chong infuses the film with a sharp, self-aware wit that plays well for older crowds. Characters frequently comment on the film’s absurd, cartoonish elements, such as asking where animals got their little crowns from or acknowledging the brutality of the food chain. There are numerous extended bits that go on for the right amount of time, long enough to feel ridiculous but never overstaying their welcome. Still, Chong never alienates the younger audiences and incorporates plenty of broad, slapstick humor. Hoppers boasts a specific comedic sensibility that can pull in all ages.
Of course, none of this works without committed voiceover work, and Hoppers boasts a roster loaded with top-tier voice talent.
Leading the ensemble as Mabel is the effusive and brilliant Curda. She captures all of Mabel’s shades, crafting a heroine that is goofy, empathetic, and angry. Curda makes her so utterly charming, but isn’t afraid to embrace Mabel’s edges. She’s a complex and dynamic character that young audiences will (hopefully) gravitate toward and hold dear.
Bobby Moynihan’s King George, meanwhile, may just go down with the best Pixar characters. At the onset, King George is downright silly and has all the makings of a classic animal sidekick. As the film goes on, though, Moynihan taps into George’s heart and helps steer the film’s soul. His optimism is infectious but never exhausting.
Rounding out the cast are the likes of Ego Nwodim, Dave Franco, Vanessa Bayer, Sam Richardson, Hamm, Najimy, and, in her Pixar debut, Meryl Streep as the Insect Queen. Streep, in particular, is a scene stealer and will leave you wondering why she doesn’t do this more. She doesn’t hold back and delivers a delicious performance.
Hoppers moves at breakneck speed and rarely lets up, so sometimes these secondary characters feel a bit underdeveloped or sidelined. However, there’s still a focus and intention with its pacing. It barrels toward the inciting incident with little time to breathe, but Chong and screenwriter Jesse Andrews effectively establish Mabel’s character and what guides her heart. In the short amount of time before she becomes a beaver, we know and understand her so clearly.
I was hesitant, at first, fearing that the speed might undercut the emotional center, but the pacing decisions pay off in dividends.
Mabel struggles with her anger and often lets it get the best of her. Her grandmother takes her to the glade and urges her to bask in the silence to center herself. Because the movie’s pacing lives in a kinetic lane, the moments where it veers into stillness resonate the loudest.
This care and intention underscore the entirety of Hoppers, culminating in an emotionally triumphant experience tailored for our time. Yes, it’s a body swap comedy with silly sci-fi hijinks and one of the most beautifully insane chase scenes I’ve ever seen. But it’s also a meaningful story about cutting through the noise to find civility, serenity, and community. Mabel shoulders immense pressure and anger, with no one seeming to care that the world feels mere moments away from falling apart. Her driving force is recognizing her place in this big, beautiful, and complicated world. She is a piece of a larger puzzle that requires everyone to care for it.
Chong seems to speak directly to this younger generation, who have only lived through turmoil and chaos. He understands it’s frustrating and scary to feel like no one cares or listens. He also reaches out a hand to say, “It’s okay, and there is a way through.” With community intact and anger out of the equation, we can find a way to coexist and push on.
With its big, goofy heart on brilliant display, Hoppers reminds us that we only get one planet, and it is our duty to share and preserve it. It has all the makings of a classic Pixar film, tapping into bigger, broader emotional sensibilities. It does so fearlessly, in its own, unique way. There surely isn’t anything quite like Hoppers in Pixar’s filmography, but hopefully, this is the sign of more weird, audacious stories to come.
Review Courtesy of Adam Patla
Feature Image Courtesy of Disney/Pixar via Parents.com