‘Hoppers’ Review

By Nadia Dalimonte

A still from Disney and Pixar’s Hoppers

In Disney and Pixar’s delightfully bonkers film, Hoppers, the scientists who discovered they could hop human consciousness into lifelike robotic animals are quick to shut down parallels to Avatar. It’s an effective gag that winks and nods at inevitable comparisons between the two stories. Both imagine worlds where humans can transport themselves into different species to observe and understand their ecosystem. Both use this concept to highlight subjects of environmental justice and conservation as the species fight back against capitalistic threats. Avatar is one of many cinematic influences (alongside nods to Back to the Future, Mission: Impossible, and The Birds) that stand out in cleverness without overshadowing the unique charm Hoppers radiates. From the mind of Daniel Chong, creator of Cartoon Network’s television series We Bare Bears, comes a playful adventure where eccentric ideas and community-forward themes totally stick the landing. Jam-packed with weird science and lovable characters, Hoppers leaps its way to the pinnacle of Pixar animation.

19-year-old environmentalist Mabel (Piper Curda) learned to calm her childhood anger by visiting a peaceful forest glade (the Everglades) with her grandma Tanaka (Karen Huie). Together, they would sit on a rock by the pond and ground themselves in nature. They would stop to hear the sounds of trees and furry creatures. For a moment, this place was a pristine sanctuary where humans and animals could co-exist in harmony. But there’s always a calm before a storm. Mayor Jerry (Jon Hamm), Mabel’s top nemesis, drives all the animals out of the glade so that he can demolish it and build a new expressway because capitalism. Racing against time, Mabel jumps into action and stumbles across a secret “Hoppers” technology system run by her college professors, Dr. Sam (Kathy Najimy) and Nisha (Aparna Nancherla). Mabel seizes the moment, hops her consciousness into a robotic beaver, and ends up in Beaverton. Her mission, which she so eagerly appoints, is to convince a real beaver into building a dam back at the Everglades pond. Mabel sets her plan on King George (Bobby Moynihan), a beaver monarch with the purest of hearts who helps rally the animal Kingdom in a fight against the Mayor’s infrastructure development. Essentially, Hoppers leaves it to beaver to save the day.

Director and writer Daniel Chong, alongside co-writer Jesse Andrews (whose previous credits include Pixar’s Luca and Elio), puts the “hopping” technology framework to excellent use. The science of it all is deliriously messy, and the conflict is explained at lightning speed, as Chong and Andrews waste no time getting down to animal kingdom business. The laugh-out-loud introduction to top beaver King George (who wears an adorable tiny crown) sets a precedent for the film’s visually-driven sense of humour. Clever puns, situational comedy, and silly character dynamics all mesh together to throw amusing curveballs onto Mabel’s mission. One of these curveballs takes the form of a bonkers chase sequence featuring a flying shark named Diane (Vanessa Bayer), as an amusing emoji text chain plays out simultaneously. It’s a brilliant testament to how well the animals bounce off one another to create a colourful community-driven ecosystem. The film packs several dynamic characters into this world. Mabel also meets Ellen the grizzly bear (Melissa Villaseñor), Loaf the beaver (Eduardo Franco), and Tom the lizard (Tom Law), who stand out with versatile textures and expressive animation.

Hoppers dials the absurdity up to eleven once the animal council are introduced. When Mabel and King George’s efforts to save the pond need a boost, they meet with fellow monarchs of the natural world. Insect Queen (Meryl Streep), Fish Queen (Ego Nwodim), Reptile Queens (Nichole Sakura), Amphibian King (Steve Purcell), Insect King (Dave Franco), and Bird King (Isiah Whitlock Jr.) land on the idea of squishing the mayoral threat, which leads to even more bonkers story developments. As tensions erupt in the animal world, Mayor Jerry intensifies his construction strategies, and Mabel’s professors try on different robotic rescue plans for size. The silly escapades are incredibly effective at twisting the story into unexpected directions.

The film conveys a witty balance between its chaotic humour and poignant emotional core through several relationship dynamics. Whether it’s between humans and animals, environmentalists and corporations, granddaughters and grandmothers, and so on, we are all facing a global crisis of disconnection from one another. At a time when natural habitats and lands are being destroyed, the words of Mabel’s grandma (“It’s hard to be angry when you feel like you’re part of something big”) echo beautifully. Hoppers leads with empathy and encourages us to do the same. Talking animals have become a staple of the animation medium, but this story playfully questions, “What if you could understand what animals are saying?”, and comes prepared with a sincere answer. The message that we are all part of something bigger, and that we all share the same planet, lands with genuine resonance. And with great power comes great responsibility. The film explores its animal technology through the lens that we are all responsible for protecting the future of this planet. When Mabel learns how the animals live and what they need to thrive, she accelerates in her determination to save the pond and stand up for what’s right.

A still from Disney and Pixar’s Hoppers

Cute and cuddly as the animal characters may be, Mabel’s characterization is the heart and soul of Hoppers. Driven by the loss of Grandma Tanaka, Mabel will do absolutely anything to protect the glade because of what it represents. It’s a magnet for the wildlife she’s passionate about fighting for. Most of all, it’s the intergenerational connective tissue to her identity. It’s the place where she learned how to address her uncontrollable anger and communicate her rebellious energy in a calmer way. Piper Curda is an absolute star in the film. She voices Mabel’s character with compelling enthusiasm and urgency, radiating hope around the younger generation as the future is in their hands. 

Voice performances too often go under-appreciated when it comes to recognizing the best acting of any given year. Additionally, plenty of animated films fall victim to celebrity stunt casting that values recognizability over nuanced transformation. Hoppers has its fair share of legends (the Meryl Streep, for starters), and everyone gets opportunities to stretch their talents through unique voices. Dave Franco stands out as a devilishly entertaining part of the story for how he voices Insect King with intense glee. Bobby Moynihan adds lovable, heartwarming dimension to King George and grounds the central environmental conflict in a warm glow. Jon Hamm rises to the occasion of complementing Chong’s eccentric direction. 

The film’s painterly animation stands out amongst Pixar’s most gorgeous work yet. From the vibrant nature settings and wire-cluttered science lab to the textured character designs, there’s a neat visual balance between realistic and exaggerated. The most impressive animation work lies in the duality of the animals’ facial expressions. From the humans’ perspective, the animals are defined by beady black eyes and overall simpler hand-drawn features. In the animal world, their appearances are increasingly cartoonish and absurdist. It’s a brilliant creative choice that showcases various animation styles and communicates subtle distinctions between both worlds.

Hoppers leaps comedy-first into prominent environmental themes, which makes its resonant subject matter incredibly delightful to engage with. It’s a thoughtful intergenerational story and a quintessential example of family-friendly entertainment that people of all ages can enjoy. Packed with big swings and a totally bonkers sense of humour, it’s precisely the bold level of storytelling that Pixar needs more of.

Hoppers arrives in theatres on March 6.