Hoppers

Last night, I watched the new Pixar movie, “Hoppers,” which was released theatrically in March but on Disney+ 11 days ago. I was wanting to watch this in theaters, but we didn’t get the chance, so I waited until it was released on Disney+. How is this new Pixar movie? Is it an original idea or something Pixar has already done before?

There is something quietly encouraging about a Pixar film that just works. Not in the way that it reinvents animation or redefines storytelling, yet the studio has done that more times than most. However, in the way it reminds you why Pixar became such a great force to begin with.

Doug Jamieson said in his review, “Strong characters, a clear emotional core, humour that lands for both kids and adults, and a story that wears its heart openly without tipping into saccharine excess. That particular balance has felt elusive at times in recent years, with the studio chasing ambition in different directions.”

Jamieson continued, “Yet their latest arrives as a confident, charming recalibration, a film that may not aim for the stars visually, but hits a deeply satisfying emotional sweet spot.” Directed by Daniel Chong and written by Jesse Andrews, “Hoppers” is, at the center, a story about connection.

Between humans and animals, between grief and purpose, between the version of ourselves made by anger and the one made by understanding. Jamieson notes, “It wraps those ideas in a zany, high-concept premise involving mind-linked animal robots, yet never loses sight of the grounded emotional truth at its centre.”

The film introduces Mabel Tanaka, voiced by Lila Liu, as a child whose love for animals is on the fence of rebellion. Whether she tries to free classroom pets or standing up against the way her town treats wildlife, Mabel’s feelings are driven by a strong, if unfocused, sense of justice.

Then her grandmother she gets really close with, voiced by Karen Huie, calmly redirects that anger, showing her toward a silent glade where she learns to listen rather than fight, to understand rather than react. That advice from her childhood becomes the film’s emotional basis.

Years later, as a university student, Mabel (Piper Curda) finds herself still attached to that place, now under threat from a planned beltway supervised by the shallow, self-centered Mayor Jerry Generazzo (Jon Hamm). The animals that once occupied the glide have started to leave, and the feeling of loss is deep, not just environmentally, but spiritually.

Jamieson points out, “This is no longer just a childhood refuge. It’s something that needs protecting. Enter the film’s delightfully absurd central device.”

Through the research of her biology professor, Dr. Sam, voiced by Kathy Najimy, Mabel gets access to experimental robotic animals that can be controlled via a neural link. The process, called “hopping,” allows humans to occupy animal bodies, experiencing the world from a completely different perspective. This is an idea that Pixar immediately supplies both comedy and meaning, combining physical humor with a deeper look at empathy.

Jamieson mentions, “From there, Hoppers opens up into its most playful and imaginative stretch, as Mabel, now disguised as a beaver within the animal world, attempts to solve a very practical problem, convincing a real beaver to rebuild the dam that once sustained the glade’s ecosystem.” What she finds instead is a completely realized animal society, that have their own rules, hierarchies, and personalities.

Breaking those rules almost immediately, by preventing the hungry bear Ellen (stand-up comedian and former SNL star, Melissa Villaseñor) from eating the forever exhausted beaver Loaf (Eduardo Franco), Mabel accidentally gets the attention of King George, the friendly and slightly confused leader of the beavers, brought to life with perfect comedic timing by Bobby Moynihan. We also have Aparna Nancherla and Sam Richardson voicing assistants of Dr. Sam.

It's here that the film really finds its rhythm. The friendship between Mabel and King George, along with the growing team of animal characters, gives a steady flow of genuinely funny, character-driven comedy.

The humor is not just situational, yet there is plenty of that, but based in personality, misunderstanding, and the essential silliness of a human trying to navigate animal life. Particularly, Moynihan is a standout, making a character who is equally ridiculous and charming, his leadership style as questionable as it is genuine.

However, underneath the comedy is a gradually developing emotional center. As Mabel spends more time with the animals, forming bonds and earning trust, the film deepens its look at identity and perspective.

The method of “hopping” becomes more than a narrative part. It becomes a metaphor, a way of understanding lives that exist along with our own but are so often ignored or dismissed. The film’s message about conversation arrives naturally from this, not as a lecture, but as a lived experience. That balance is where “Hoppers” succeeds.

The film’s message of environmentalism is one of its greatest strengths. There is something genuinely emotional about the way it encourages empathy toward the natural world, making environmental protection not as a mental concept but as a deeply personal responsibility.

Even with a relevant message at its center, “Hoppers” never loses its feel of fun, embracing its crazy premise with enthusiasm, yet it consistently keeps that energy in character and theme. The growing issue with Mayor Jerry, whose plans for development threaten not just the glade but the entire ecosystem, gives a clear villain.

Jamieson said, “Thankfully, the film wisely avoids turning him into a purely cartoonish villain.” Hamm plays him with just enough charm to make him believable, despite his actions becoming increasingly frustrating.

All around, the voice cast is terrific. Jamieson credits, “Curda carries the film with ease, giving Mabel a sincerity that anchors even the most outlandish moments. She brings a wonderfully naturalistic quality to the heroine, avoiding the overly heightened delivery that can sometimes creep into animated performances.”

There’s an established, almost modest sincerity in her voice work that makes Mabel’s emotional journey feel true, mainly in quieter moments where reflection and doubt take over. Curda allows the character to feel like a real young woman, figuring things out in real time, which gives the film an emotional fix that never feels forced.

Moynihan is perfectly cast as the instantly lovable King George. He goes fully into the weirdness of the possibly optimist leader with a performance that feels both spontaneous and carefully adjusted.

Jamieson credits, “He finds humour in the character’s contradictions, a leader who projects confidence while often flying by the seat of his pants, and imbues him with a surprising level of warmth beneath the chaos. It’s the kind of voice performance that keeps revealing new comedic details with each scene, making George one of the film’s most consistently delightful presences.”

Jamieson continues, “Supporting voices like Meryl Streep as the feared Insect Queen, Dave Franco as her tyrannical son, Titus, Ego Nwodim as the snooty Fish Queen, and Vanessa Bayer in a hilarious apex predator role that’s best left unspoiled flesh out the world with distinctive, memorable contributions. There is a sense of ensemble playfulness that carries through the film, each performance contributing to its lively tone.”

Visually, “Hoppers” is hands down beautiful, even if it does not target the same level of technical innovation as some of Pixar’s most recent works. Jamieson praised,

The glade itself is rendered with a soft, almost storybook quality, its lush greenery and reflective waters creating a sense of calm that contrasts with the encroaching threat of development.

The animal world is expressive and vibrant, with character designs that prioritise personality over hyper-realism, allowing for greater comedic flexibility. Each creature feels thoughtfully constructed with distinct silhouettes, expressive features, and small behavioural quirks that give them immediate personality.

There’s a tactile charm to their design, balancing stylisation with just enough realism to make them feel alive, which makes it all the easier to invest in them as fully formed characters rather than background whimsy.

If there is a limitation here, it would be the animation rarely feeling groundbreaking. In the past, Pixar has pushed the envelope forward with each release, redefining what animated storytelling can look like. “Hoppers” is more satisfied to work within established boundaries, delivering clear, lovable visuals without wanting that next leap.

This is a conscious decision, and one that works the film’s tone, but it does mean it lacks the visual amazement factor of the studio’s most determined work. Also, the narrative follows a familiar path.

From Mabel’s main frustration to her look in the animal world, the eventual revelation of her secret, and the rise toward a crazy, high-energy third act, the story is recognizable. Jamieson pointed out, “There’s even a self-deprecating gag about how this plot is similar to that of Avatar.”

The film’s final act, involving a larger confrontation and a gathering of the wildlife council, goes heavily into its insane sensibilities, occasionally feeling a little overdone in its attempt to bring everything together. However, even when it feels predictable, it remains completely engaging.

Chong and Andrews understand that familiarity is not a flaw if it is done with care. Jamieson said, “What ultimately elevates Hoppers is its boundless sincerity.”

It believes in its message, characters, and invites the audience to do the same, not through manipulation, but through real emotional connection. The relationship between Mabel and her grandmother lingers throughout the film, a quiet reminder of where her journey began, while her increasing understanding of the animal world gives a satisfying feel of growth.

By the time the film arrives at the end, it may not surprise you, but it will possibly win you over. This is hands down a happy, good-natured return to classic Pixar storytelling.

This is funny, genuine, occasionally messy, but always good-intentioned, and in a landscape where animated films often chase vision at the cost of substance, “Hopppers” feels happily grounded in what matters most.

This may not be Pixar at its best but it is Pixar at its most endearing with a genuinely likable story full of heart, humor, and lovable insanity. That’s something the animation company always does so wonderfully well.

At a time when this message hits really close to home, “Hoppers” is one that everyone must see. Sure, we have plenty of environmental movies out there that all have the same message, but “Hoppers” does it in a way that doesn’t feel stale and repetitive. This is a movie that families should watch together and learn something, as we need more people behind this cause. You’ll love the animation, characters, and especially the story. See it on Disney+ and have fun.

Thank you for joining in on this review today. Stay tuned this Friday for the continuation of “Bill Paxton Month.”