HOPPERS – A Perfectly Fine Pixar Movie on Its Own

Review by Chadd Clubine

There has undoubtedly been a noticeable shift in Pixar’s recent output. While the studio continues to thrive on sequels to its earlier successes, its original films have become increasingly hit-or-miss at the box office. When Pixar previewed Hoppers during last year’s screenings of Elio, it seemed to signal a renewed commitment to originality. Instead, Hoppers ultimately resembles exactly what it directly references: Disney’s other franchise, Avatar. Once the film invokes Avatar, it becomes difficult to separate it from that comparison, and what initially felt like a fresh, inventive concept begins to seem far less distinctive.

Hoppers follows college student Mabel Tanaka as she sets out to protect the natural world around her, driven by the bond she shared with her late grandmother. The opening carries that familiar Pixar charm, efficiently establishing its characters and emotional stakes within the first few minutes. We quickly understand who Mabel is and what motivates her, grounding the story in something heartfelt and personal. However, once the film shifts to the present day, it struggles to find its footing. We learn that Mabel went to live with her grandmother after experiencing difficulties at school. Her parents are still alive, yet the transition frames her situation with the emotional weight of an orphan narrative. The present-day storyline glosses over the complexity of her family dynamic, leaving unexplored threads—particularly the potential for Mabel to reconnect with her parents. It’s a missed opportunity that could have added greater emotional depth to her journey.

Mabel is an easy protagonist to root for. Piper Curda brings warmth and sincerity to the role, giving the character a grounded authenticity, while carving out a memorable presence of her own. Mabel’s determination to protect the environment reinforces the film’s central message—that meaningful change is within anyone’s reach. That clarity of purpose makes her motivations feel genuine and keeps us invested in her journey from start to finish. Bobby Moynihan infuses his character with heart and buoyant energy, presenting a refreshingly positive vision of leadership—one rooted in compassion rather than authority. Meanwhile, Jon Hamm proves perfectly cast as the antagonist, his commanding voice lending a sharp intensity that elevates the character’s menace without ever feeling overplayed.

Some of Pixar’s most beloved classics carried a sense of originality that felt timeless—stories and worlds unlike anything audiences had seen before. Hoppers, however, seems to lose some of that distinct Pixar magic, the quality that once set the studio apart even within Disney’s larger catalog. The humor remains intact, offering plenty for both kids and adults to enjoy. And when the film fully embraces its central themes, it truly shines. Those moments of optimism and sincerity soar far above the elements that falter. The core issue isn’t the message itself, but the uneven path the film takes to reach those emotional high points.

Beyond sidelining Mabel’s parents after the opening minutes, the film occasionally rushes through narrative gaps to move the story where it needs to go. While Hoppers certainly delivers its share of laughs, some of the more juvenile humor feels less organic and more like a convenient bridge between scenes. That kind of comedy has its place in a family film, but when it’s used as a punchline to cap off a moment, it can feel cheap rather than clever. There’s also a noticeable plot hole surrounding Mabel’s identity. King George—voiced by Bobby Moynihan—fails to connect dots that seem fairly obvious in hindsight. The film plants several clues that should have prompted him to question what was really happening well before the eventual reveal. Instead, the oversight feels less like character-driven naivety and more like a narrative shortcut.

For a film that draws such clear inspiration from another Disney property, it’s interesting how Hoppers directly references it so openly. The moment a movie invites comparison to another story with a similar premise, it risks undercutting its own originality. While there’s always been a shared thematic thread connecting Pixar’s films, each one once felt like a fully realized world you couldn’t wait to step into. Here, that sense of immersion feels slightly diminished. Perhaps it’s the heavy presence of human characters, or the film’s grounding in a recognizable reality that makes its more heightened moments feel jarring when it suddenly goes all-in on spectacle. The tonal shifts can be abrupt, even if the ambition behind them is admirable.
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Still, early audiences appear to be responding positively. For all its shortcomings, the film has enough heart and humor to stand on its own. It may not reach the towering heights of Pixar’s best work, but it remains an enjoyable entry—and a reminder that even a less-than-classic effort from the studio is still a win worth celebrating.

Hoppers is in theaters March 6th!

Rating: 3/5