Hoppers

It’s pretty easy to be smitten by Hoppers, Pixar’s latest original film and one of the studio’s most energetic efforts in years. After a decade that has produced both highs and lows for Pixar, Hoppers feels refreshingly different. Directed by Daniel Chong in his feature debut, the film has far more in common with the rapid-fire comedy and visual inventiveness of recent Sony Animation hits than the studio’s usual formula. Like Turning Red before it, the movie embraces a looser, quippier style where the jokes come fast and often, and the animation matches that chaotic energy.

The story follows Mabel (Piper Curda), an animal-loving environmentalist trying to stop a highway project from destroying the river ecosystem she grew up exploring. When her efforts fail, she discovers experimental technology created by her college professor, Dr. Sam (Kathy Najimy), that allows her to “hop” into the body of a robotic beaver. From there, she becomes immersed in the complex social structures of the local animal kingdom while continuing her fight against the charming but self-serving Mayor Jerry (Jon Hamm). It’s a concept packed with possibility, and writer Jesse Andrews does a strong job balancing the film’s environmental themes with plenty of humor and heart.

The supporting cast helps keep the momentum going. Bobby Moynihan brings warmth to King George, the beaver monarch, while Dave Franco’s Insect King Titus provides a surprisingly effective antagonist. Even Meryl Streep’s brief turn as the Insect Queen leaves an unmistakable impression. Mark Mothersbaugh’s score keeps the film moving at a breakneck pace without overwhelming the emotional moments, and those quieter beats largely land when they need to. While the environmental messaging can occasionally feel pointed, the film never loses sight of its younger audience.

Hoppers feels like Pixar with the volume turned all the way up. It’s a zany, joke-dense adventure with more gonzo energy than the studio has delivered in years, yet it still finds room for genuine emotion and world-building. In fact, it’s one of the few recent Pixar originals where I can easily imagine sequels because the concept feels rich enough to revisit. Not every element works perfectly, but the film’s creativity, momentum, and sheer likability make it one of Pixar’s more refreshing releases in recent memory. Hopefully it’s a sign that the studio is willing to keep betting on new voices and stranger ideas.