Film Reviews

March 6, 2026

There was a time when "Hoppers," a computer-animated adventure film, would have come across as bolder and more exciting. To be clear, it is these things to a degree, but not enough, and markedly less so when you consider the other films from which it's derived. A story about a plucky young woman standing up for her convictions and the underdog—or in this case, all the "under" animals—isn't exactly new territory for the well-established (and often reliably innovative) Disney/Pixar engine, and neither are its many other familiar attributes. And unfortunately, we sense this while watching "Hoppers." Despite its energy, visuals, humor, and willingness to explore darker subject matter, the movie renders as a trail we've treaded many times before.

This isn't to say we don't still get behind the movie's fearless and strong-willed heroine. Her name is Mabel Tanaka (Piper Curda), who we first meet as an elementary school student who stays behind during recess to free all the animals locked up in cages and glass containers—frogs, hamsters, snakes, etc. Years later, the 19-year-old Mabel, now a college student, has retained that same burning desire for animal justice and preserving natural habitats for creatures of all kinds because she believes, just as her beloved grandma (Karen Huie) bestowed upon her, we're all connected and responsible for taking care of one another.

Mabel's priorities are a far cry from those of her longtime nemesis, Mayor Jerry Generazzo (Jon Hamm), a self-centered opportunitst who wants to build a highway over Mabel's cherished forest glade, where several animals thrive, not least beavers, which is fitting considering the name of the town is Beaverton. Unable to gather the amount of signatures needed to stop the construction, Mabel fortuitously stumbles upon the "hoppers" technology developed by her biology professor, Dr. Sam (Kathy Najimy), whereby a human sits in a chair not unlike a hooded dryer in a hair salon, hooks head up to a bunch of cables in a semi-"Matrix"-style fashion, and "hops" into a robotic animal, virtually allowing them to live and communicate with other members of the animal kingdom as if they were one of them. A neat strategy employed by the animators is having the animals appear distinct, wide-eyed, and expressionistic when they're conversing with one another, but to non-"hopped" humans, they appear like, well, regular animals—cute but apathetic and making only non-verbal animal noises. This serves as an obvious but effective reminder that we humans shouldn't assume we are necessarily the smartest or most communicative inhabitants living on planet Earth.

The plot kicks into high gear when Mabel hops into a robotic beaver and infiltrates a dam outside the forest glade. She meets another beaver named King George (Bobby Moynihan), with whom she talks to, along with all the other animals, from insects to birds to fish, in plain English. George, donning his tiny golden crown, is a tad naïve about how the world works, yet he remains optimistic, jolly, and trusting. He watches over a coterie of mammals who've been dislodged from the glade by the nefarious actions of humans, and he’s fostered a community of friendship, acceptance, and come-as-you-are. He and Mabel hit it off, and without giving away too much of the zany plot, which involves fake trees; an assassination attempt on Jerry; an accidental death; a giant shark being flown around by seagulls; a reverse hop situation; and a grotesque human face mask, the movie becomes a cheerful mix of comedy, adventure, drama, and action. In-line with most Disney/Pixar fare, director Daniel Chong and his team deliver a little bit of everything.

What's admirable about "Hoppers" is that it's not afraid to get dark. Despite being family-oriented, with its talking animals and mostly compassionate and well-meaning humans (even Jerry has a soft side), not to mention an ending that predictably ties up all the loose ends happily, there's a solemn and sobering sensibility about it. Among other things, it recognizes aging and death, the often-futile exercise of common people going up against big corporations, climate change, the dangers of over-relying on technology and artifical intelligence, and the idea that, as Mabel puts it, "Everything feels broken." Interestingly, we don't necessarily walk away from the movie feeling hopeful, but rather that there's more work to be done, and there always will be. The film feels honest and evolved in that way.

That being said, "Hoppers" is also what I said: in-line with most Disney/Pixar fare, which is to say there's little in the way of any real surprises or truly original excitement. Though perfectly fine and watchable, "Hoppers" also feels overly routine, and as such, we can't shake that it seems to prioritize being a localizable, return-on-investment product first and a worthwhile story second. Think about it: it takes place in a nameless country and city; it has cute, talking animals; and it presents a tried-and-true central conflict (an underdog fighting for the greater good). Clearly, the movie was made to sell around the world, be dubbed in any language, and appeal to the masses. I know this applies to the majority of Hollywood offerings, but in the case of "Hoppers," its likeness to its brethren ultimately gets the better of it. In a nutshell, it feels too safe and vanilla for a trip to the theater.

With its brightness, spirit, and well-intentioned message, it's fair to say "Hoppers" does what it needs to do for its intended audience, and while it made me smile a lot, objectively, it's middle-of-the-road, a movie we could take or leave. And when you consider the robust canon of similar Disney/Pixar collaborations over the past three decades—"Toy Story 2," "The Incredibles," "Ratatouille," "Up," all of which still hold up and we could easily revisit—"Hoppers" is one we’re okay to leave.