Hoppers
Film
While hard to believe, yes, Hoppers, the movie in which a girl's mind is transferred into a robot beaver in order to learn about the natural order and the animals within it, is nothing like Avatar. Or so we're told, in fact quite emphatically by Dr. Sam (Kathy Najimy), the visionary professor behind the immersive technology. Yet, Hoppers is a little like Avatar, and The Wild Robot, and the rest of the Pixar animation catalog in the sense that we've come to expect a high level of excellence from their teams. In the midst of all the familiarity that Daniel Chong's new animated adventure evokes, lies something completely new and revelatory. A theatrical odyssey that effortlessly makes you cry with tears of heartwarming joy and sidesplitting laughter, as if they were one and the same, Hoppers is simply the best film Pixar has put out in years. It's a charming mix of heart, humor, and technical excellence that goes absolutely bananas, something that it seems like Pixar has been hesitant to do in films past.
Mabel, voiced terrifically by Piper Curda, is the intrepid hero of the beavers, so to speak. Inspired by her former park ranger grandmother — the two of them bonding in the natural beauty of a nearby glade — Mabel takes it upon herself to stop the encroaching construction project from the city's mayor Jerry, voiced by an equally wonderful and hilarious Jon Hamm. So when she stumbles upon Dr. Sam's technology, that once again is nothing like Avatar, she couldn't help herself but to transfer her mind into a robotic beaver, gather the animals like a rallying of the troops, return to the glade, and stop Jerry's construction.
This much of Chong and Jesse Andrews' story plays out like a textbook Pixar film: a familial bond delivering the emotional heft of the film, a light but meaningful conflict between characters. The film's everybody play nice in the sandbox approach to politics could be a little light in the current times, but it honestly is a refreshingly easy and heartwarming decision that I enjoyed. Together, it all spells out good clean family fun.
And yet, Chong and Andrews carefully orchestrate an upheaval within their own film that is a flat out blast.
It all starts with the unraveling of the scientific order of Dr. Sam's technology. The rules and procedures in which it operates are never explained or fully understood, the team of researchers don't even know what will happen to Mabel's brain if she's in the robot for a long enough time. There are no rules, no boundaries, which makes for exquisite world building. All the animals have left Mabel's beloved glade, giving Jerry's construction project a viable path forward, and have all moved into one gigantic pond. The pond is governed by a simple set of "pond rules" set forth by King George, who is brought to life by astoundingly charismatic voice work from Bobby Moynihan. But as Hoppers pushes on, the rules bend, the hierarchy blurs, and more zany characters are introduced such as other regal leaders at the head of their animal classification. I can't possibly dive into all of the wildly exciting things that happen, but the real feat of it all is how neatly everything ties together into the words Mabel's grandmother inspired her with, the beauty in feeling like you're a part of something bigger.
Mabel and Jerry's back and forth portions, Mabel's time in the pond amidst the animals fighting for their home, and even the animals fighting against the humans—which isn't really a spoiler but a fun tidbit to look forward to—all are great thematic tie ins Chong wields with aplomb. The varying relationships, no matter how bonkers they get and how wildly it veers from the classic Pixar formula, it all focuses back to Mabel's relationship with her Grandma. Hoppers doesn't do this with overt pandering, or any type of schmaltzy moments, but through its heart and humor.
Outside of the film's story and the organized chaos within it, Hoppers is a sensational technical feat. The animation is sharp, but it retains an innocent and soft appeal to it. I mean seriously, the animals are downright adorable and I could stare at them all day. Not to mention there are some insanely fun needle drops that accompany Mark Mothersbaugh's phenomenal score. Veering between 80's and 90's synth pop vibes and big emotional swings, the music is the perfect partner to the on-screen product, elevating the big moments while letting them operate in their own space, and illuminating the in-between with fun and exciting beats. There really isn't a dull moment.
I know it might seem like hyperbole to say something like "this is the best Pixar movie in years," especially with such a renowned filmography. Elio is quite literally up for the Best Animated Oscars this year. Just like Inside Out 2 was last year, and Elemental the year before, and Turning Red before that, and Luca... you get the point. But those films felt almost too polished. Too afraid to explode into the unknowns of wildly inventive filmmaking that Pixar was known for in its golden era. Hoppers is the type of film to unshackle your imagination and let your thoughts run free, all the while reminding you that we don't get anywhere in life without some heart.
And a whole lot of humor can go a long way.
Froth
With a name like Hoppers I went for something hoppy and dare I say, dank. Reuben's Brews was happy to oblige with their Hopsteady IPA, a West Coast IPA that finishes with that wonderful hoppy/dankness that can make or break a beer. Luckily, Reuben's balances its finish with a grapefruit center, giving a bright citrus element to the bulk of the drink, while the aromatic finish takes more of a backseat. Which makes for a pretty fun brew if you ask me. Basically, I'm seeing that it all boils down to a nice balance that keeps everything together. Not too much dank, not too much citrus, just like Hoppers working with a mighty fine balance of chaotic humor and heartwarming emotions, ultimately resulting in something worth enjoying.
Quite the tie-in there, huh?
