Hoppers Review: New Pixar Movie Delivers a Hilarious Adventure

Pixar has built its legacy on deceptively simple “what if?” ideas. What if toys had feelings? What if a rat wanted to cook? With Hoppers, the studio once again embraces a concept that sounds absurd on paper and proves that execution is everything. Scientists discover a way to transfer human consciousness into robotic animals, and a fiercely determined teenager uses the technology to fight for the creatures she loves. The result is a wacky, heartfelt, surprisingly dark adventure that reminds you why Pixar can make almost any premise work.

The film opens with Mabel as a child rescuing her classroom pets, including a turtle named Crush, a playful nod to Finding Nemo. The scene quickly establishes her lifelong pattern of defying authority in defense of animals. Even at a young age, she is impulsive, compassionate, and a little chaotic. That emotional foundation deepens through her relationship with her grandmother, which gives the story an immediate warmth. The bond between them becomes an anchor that grounds the film’s more outlandish ideas.

Now 19, Mabel is voiced with vibrant energy by Piper Curda. She spends her days as an outspoken animal rights advocate, leading protests against Mayor Jerry, who is campaigning for reelection on a plan to build a freeway through a forest glade that serves as a habitat for countless animals. Curda brings urgency and sincerity to Mabel. She never feels preachy. Instead, she feels young and driven, still figuring out how to channel her passion effectively.

Mayor Jerry, voiced by Jon Hamm, is one of the film’s most consistent comedic pleasures. Hamm leans into Jerry’s vanity and political ambition without turning him into a one-note villain. The rivalry between Mabel and Jerry is very funny because they are fundamentally opposed in worldview and temperament. Jerry is polished and calculating. Mabel is scrappy and emotional. Their confrontations crackle with sharp timing, and Hamm clearly enjoys playing a character who is both ridiculous and self-assured.

The central sci-fi conceit inevitably invites comparisons to Avatar, and the movie cleverly acknowledges that similarity with a quick joke. It is a self-aware moment that diffuses the comparison while signaling that the filmmakers understand how bold their premise is. Instead of epic battles and sweeping mythologies, Hoppers focuses on intimacy and perspective.

One of the smartest creative choices involves how the animals are depicted depending on who is observing them. When we are seeing events from the perspective of animals or from Mabel inside a robotic beaver body, the animals have expressive Pixar eyes with visible whites and defined pupils. They speak English and emote like classic animated characters. However, when humans such as Mayor Jerry observe them, their eyes appear dark and glossy, and they make ordinary animal sounds. This visual distinction is funny and reinforces the idea that empathy depends on understanding another point of view.

The animation is gorgeous throughout. The forest glade is rendered with textured bark, shimmering water, and dense greenery that feels almost tangible. Yet the film never pursues hyperrealism at the expense of personality. The animals remain stylized and expressive, maintaining that engaging Pixar look. It is a beautiful movie that knows realism is only valuable when it serves character and story.

When Mabel hops into the robotic beaver, she meets King George, voiced by Bobby Moynihan. George provides a lot of comic relief, but as the story unfolds, he reveals emotional depth. He carries a backstory that adds weight to his role within the beaver community. His vulnerability makes him more than just a sidekick. The friendship between Mabel and George becomes the emotional center of the film. There is something familiar about the dynamic because Mabel must conceal her true identity and her human agenda. This kind of secret has fueled many stories before. Even so, the connection between them feels genuine. As Mabel grows closer to George, her mission becomes complicated by real affection and loyalty. The tension is not only about being exposed but about whether her cause justifies deceiving someone who trusts her.

While the middle portion of the film follows recognizable beats, the final act takes a bold tonal shift. As the freeway project advances and the stakes escalate, the story leans into territory that feels almost like a horror film for kids. The introduction of a more sinister antagonist voiced by Dave Franco heightens that darkness. The character’s presence brings a sense of menace that is both unsettling and darkly funny.

Franco sounds like he is having a blast in the recording booth. His performance balances charm with an unhinged edge, making the character unpredictable and genuinely threatening. The film uses shadows, sound design, and exaggerated animation to create moments that might surprise younger viewers. It is a daring move that pays off because it raises the stakes in a way that feels earned rather than gratuitous.

Ultimately, Hoppers succeeds because it builds to an emotional and exhilarating finale. Like the best Pixar films, it understands that spectacle means little without heart. The climax delivers excitement and lands on a triumphant, emotional note. There is a conventional structure to the story, and some character beats feel familiar. Yet Pixar has always excelled at taking recognizable frameworks and elevating them through craft and sincerity. This is the same studio that once convinced audiences that a rat cooking in a French restaurant could be profound. The magic lies not in the novelty of the premise but in the emotional clarity of its execution.

Hoppers is strange, funny, visually stunning, and unexpectedly dark in its final stretch. Most importantly, it has heart. It asks its audience to consider how the world looks through someone else’s eyes, even if those eyes belong to a beaver. That perspective makes all the difference.

SCORE: 8/10

As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.

Source: Comingsoon.net