A young woman tries to save a glade from humans by shifting her consciousness into a robot beaver, opening up a whole new world in Disney/Pixar’s Hoppers, a hilarious and surprising animated outing from Daniel Chong.
Disney/Pixar’s Hoppers is a wonderful return for Pixar after a few less-than-stellar entries. Hoppers is big, energetic, beautifully rendered, and absolutely hysterical and entertaining. Daniel Chong, best known for We Bare Bears, directs, joining the Pixar pantheon. Hoppers, written by Luca’s Jessie Andrews (both men get story credit), is about a woman who takes a different tack to stop an overreaching government from destroying the animal ecosystem. To pun based on content: it’s wildly fun.
Hoppers is a blast. It continues to change expectations, shifting focus every little while in wonderful ways. As it… hops (heh)… though the various smaller plot bits keep all on their toes: both the viewer, and the characters as they learn their truths and information, and alter perspectives. It all serves the overall plot and delivery of messages and themes. Important themes and ideas of how the environment, animals, and humans interact and work with or against one another are debated and discussed. Yes, often a message in animated films. But it’s important, and done in new and interesting ways in Hoppers.
Hoppers follows Mabel, voiced wonderfully by Piper Curda, an excitable 19-year old student. She’s always been a friend to the animals, which often leaves her at odds with the humans around her. Her only true human connection is her dear Gramma Tanaka. They share a special love for a beautiful grove: peaceful and filled with animals, especially beavers. It’s a quiet space in a loud world, helping Mabel deal with anger and frustrations. When Mayor Jerry, Jon Hamm at his most smarmy and slimy, intends to destroy the grove for his useless government beltway (saving FOUR minutes of traffic, he exclaims while flashing a beaming grin), Mabel is at an impasse. That is, until she finds out some weird science courtesy of Kathy Najimy’s Dr. Sam in the basement of her college, wherein she can transfer her consciousness to a robot beaver. Now she can infiltrate and convince the animals, now moved to a pond kingdom ruled by King George, to move back. King George, a scene-stealing Bobby Moynihan, has his own issues, trying to find harmony in a shrinking, overpopulated habitat, seeing the best in all. He’s such a great character and bound to be the fan favorite. What she finds as she tries to achieve her goal is far larger and more complicated than she and the audience expect, as Hoppers races through a variety of story points, characters, and world-building across its 104 minutes. 
Of course, I’m not going to tell those little shifts, but boy, are they highly enjoyable. Each is clever and surprising, expanding and refocusing the story. It’s pretty insane and totally bonkers at times. Love it. Animal kings, power dynamics, off-the-cuff hilarity, a flying shark, maniacal insects via Meryl Streep and Dave Franco, and more. The film barely stops moving, thanks to Chong and editor Alex Guddes’s skill. In many ways, Hopper is a spy movie as Mabel infiltrates, gains intel, turns, and traitors are revealed, and the world (or at least their slice) is threatened. There’s great care in crafting a solid, engaging story with fantastic characters. Mabel is a great entry point and audience surrogate, but the animal companions steal it, garnering big moments. King George for life!
There’s more than merely “animals rock, keep their environment safe.” As noted, a solid message. But Hoppers isn’t content with sticking to the simple message, expanding into a great discussion of government. Of being an idealist against the endless bureaucracy, run by those who are either apathetic, opportunistic, or straight-up evil. One can’t help but think of good people facing bad faith actors, bumping up against brick walls when trying to make things better. In addition, working with more people than resources allow, determining the balance of needs of the many over needs of the few, and how helpless one can feel dealing with bigger forces with more money and power. But in the end, it’s all about empathy and finding that true connection with shared experience.
Within the messaging, Hoppers is hilarious. Everything lands with every sort: physical gags, character moments, wordplay, and so much in the vocal delivery. It has big moments, thrilling and fun, with so much “heck yeah.” Or in a moment I won’t spoil was such a surprise, and a big one, the audience went nuts with WHOAS. I haven’t heard a reaction like that in a while. Occasionally, Hoppers gets a little dark and intense, to my happiness (my four-year-old, watching with me at the screening, was not outright scared as he likes scary things, but noted the tone shift), especially toward the end. But there are no forced romantic ideas. It’s streamlined already, even with those story shifts, and that would be unnecessary. It’s a slick, swift, and sweet storytelling. 
Animation-wise, being Pixar, we know it’ll be gorgeous. But it’s also in the same plateau of recent years. One sees the similarity in the designs of Soul, Elio, and Turning Red. But I did marvel at the environments. In a great touch, the characters look different depending on who is looking at them and who the central character of the scene is. It gives the movie more to work with and more ways to mine some great gags and punchlines. Chong keeps things moving, working with editor Alex Guddes to keep it bumping. The film barely stops moving. There’s a great sense in shot choice and composition. Building up the technical, Mark Motherborough’score is fantastic, matching perfectly.
I highly recommend Hoppers. But I’m 43, and as much as Pixar is often aiming their stories at adults who will get more out of it, I close with asking Vincent what he thought (movie critic in training!): I liked it! I liked the beavers and the ones with the crowns best. It was funny!