- Date of Release: 06 March 2026
- Genre: Adventure, Animation, Comedy, SciFi
- Language: English
- Watch On: Theatres Only
Hoppers
Introduction
Trust Pixar to come up with a timely film every time the world is in chaos (when is it not, even). And this time, it is the turn of Hoppers – a beautiful little film that promotes the idea of universal brotherhood in the midst of the world being divided and at war. And much of the spirit of the drama is represented by its protagonist Mabel (Piper Curda) who is an animal lover with rebellious streaks. In its opening act, you see her love for animals bloom even as she unsuccessfully carries out a rescue op to save a turtle named Crush (a nod to one of the characters from Pixar’s Finding Nemo) before being caught and sent in the woods to her grandma. In a parallel world that is our current reality, she would have been Hamza Mazaari from Dhurandhar (2025) – but this isn’t that film. In fact, the grain of unity and togetherness are almost immediately established through the character of Mabel’s grandma who urges her to sit in silence while observing the animals at the glade. In her words, one cannot be mad when they are a part of something big – a beautiful nod to universal brotherhood and how humans are not guardians of nature but simply a part of it. And that for me was the crux of Hoppers that further carries on this legacy throughout the narrative.
Story & Screenplay
Written by Daniel Chong and Jesse Andrews, Hoppers is quick to incorporate the passage of time on two levels – urban development and the use of technology. With respect to the former, you notice how the glade is taken over by humans to complete a highway lead by Mayor Jerry (Jon Hamm) – an event that eerily feels closer to home wherein the entire city of Mumbai and its green layers are disintegrated in the name of development. The subtext of greed masquerading as a supposed populist decision for the masses is a story that has been synonymous to many cities around the world, forcing nature to seek shelter elsewhere. And that directly creates a conflict for Mabel with respect to her surroundings – given how it isn’t the same city that she grew up with her grandma. The passing of her grandma correlates to the ‘inevitable’ change of habitat, bringing out the cruel side of humanity as far as the protagonist is concerned.
The use of technology here is a direct nod to Avatar with respect to the human consciousness being implanted on a 3-D model of a beaver. But the context remains much more simpler – to understand the chirpy voices of animals, an experiment headed by Dr Sam (Kathy Najimy) who invariably is the catalyst in the tale here – and a bridge between Mabel and the animals. So when Mabel takes the shape of a beaver, the story picks a new dimension – one that is a distant reality of humans laced with kindness and compassion.
The setting plays a pivotal role in the narrative here even as the focus shifts from the glade to the pond – a place that is known to house the entire animal kingdom. In a way, the pond is representative of our earth – forcing you to ponder on the ‘pond rules’ of living together in harmony. The only exception to this rule remains ‘to eat when hungry’, even as the hunted wouldn’t resist the predator. And interestingly, the rules are set by the leader of the animal kingdom King George (Bobby Moynihan) – a kind-hearted beaver. Also, an important subplot involves Mabel warming up to George, while doubling up as a human inside the body of a beaver.
In many ways, George is a nod to Lion King – a character who isn’t half as fierce but more driven by empathy and warmth. In a scene, you see him warmly welcoming the beaven-ridden Mabel into their group. In another, you see him giving a benefit of doubt to the human race for building a flyover in the middle of the forest, simply given how it ‘maybe useful to them’ despite Mabel warming him otherwise. He is driven by love to the point that makes the world a beautiful place – simply given how he believes world to be one as his gaze complimenting his thoughts of unity and warmth.
The drama treads on a fine line of balancing the moralities of the characters in play. And by that what I mean is that all animals aren’t coated with the same paint of warmth, and neither are all humans treated are bad beings without an arc of redemption. The power dynamic of the animal kingdom is created in the form of each representation from its different factions – amphibians, reptiles, birds, insects and fish. So after an accidental tragedy that takes place, the narrative flips on its head by taking the route of a revenge saga – prompting the humans to take shelter from the wrath of nature, interestingly saved by the protagonist and her clan.
It is interesting how the character arc of Mabel transforms from a pessimistic undertone to embracing optimism – an arc that directly can be equated to the amount of kindness and softness that she imbibes from George. It is ironic on how George being a beaver is known to engineer landscapes, whilst with Mabel, he gets a chance to subsciously engineer her life and characteristics too.
The broader strokes of survival are laced with humour and a sense of urgency while often twisting the moral landscape of the drama with respect to perceptions of characters. It is quick to offer redemption arcs to humans, as also animals, by opting for a middle path wherein the two could join hands and work together as a team. The proceedings aren’t designed to vilify either side, nor are they designed to give any side an upper hand by victimizing the other side. In the midst of a possible tragedy when there is an image of rebuilding with both animals and humans working together for a common goal of preserving the environment, you just know that the screenplay is a winner – this, whilst filling you up with a plethora of emotions wrapped in a tingling feeling of warmth that woukd gently tug the strings of your heart.
Dialogues, Music & Direction
The dialogues are christened with words of wisdom that deftly touch your soul along the way. Words like ‘don’t be a stranger and mingle with everyone’, or a rule stating to help each other out in the midst of a conflict, or even lines specifically inflicting the human angle to a larger work in play, signifying how small but important we all are in the larger scheme of things – absolutely hits home. The music and BGM are laced with a layer of empathy with notes that are soothing and often found a place in my heart. The rebellious nature of the protagonist is often intercepted by a larger goal of unity – with the background score treading a similar path, quite flawlessly.
The animation by Pixar studios is top-notch, adding a layer of affinity and emotions to the characters who aren’t mere cardboard cutouts, but spritely affectionate whilst being ridden with throbbing colours to truly encapsulate the vibrant spirit of the drama. The editing pattern is crisp and sharp while holding onto the subtle emotional core of the drama, even while seamlessly switching on the tonal front.
Director Daniel Chong upholds the spirit of the drama with a lot of sensitivity by treading a path that is quite balanced, whilst also being entertaining along the way. There is a streak of kindness that he chooses to view his characters which are laced with empathy. He handles the environmental themes ably while wishing to go beyond with the ultimate messaging in play which is that of unity and universal brotherhood. But at no point does the message get preachy, making me realise on the kind of grip and control that the filmmmaker had on the narrative. The direction is brilliant here.
Voiceovers
The voiceovers are pretty good by the members of the cast. Karen Huie as Mabel’s grandma adds to the emotional core of the drama with a heartfelt voiceover. Vanessa Bayer as Diane the great white shark, Ego Nwodin as Fish Queen, Steve Purcell as Amphibian King, Nichole Sakura as Reptile Queens, and Isiah Whitlock Jr as Bird King have their moments to shine. Meryl Streep as Insect Queen is outstanding here, as is Dave Franco as the intimidating Insect King who has a metamorphosis of his own.
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<span;>Melissa Villasenor as Ellen, Aparna Nancheria as Nisha, Sam Richardson as Connor, Eduardo Franco as Loaf, and Tom Law as Tom Lizard are first rate. Kathy Najimy as Dr Sam brings a layer of urgency to the drama with her deliberate over-the-top antics, but in a sincere manner. Jon Hamm as Mayor Jerry adapts well to the shifting tones of his character while bringing a cocky streak of earnestness here.
Bobby Moynihan as King George is all heart here – being the single-most affectionate character here who views the world with a touch of grace and empathy. The warmth of his character is infectious, and it automatically trascends through the screen with a thought of unity that is powerful and relevant in today’s times. Piper Curda as Mabel is brilliant to the core, taking you on a roller coaster of emotions through her heartfelt character arc. There are layers to Mabel from being a rebel and an idealist, to someone who eventually brings grace to the table. And this arc is perfectly reflected in a heartwarming voiceover that is superb to witness here.
Conclusion
Hoppers features some relevant environmental themes that are explored in a heartwarming tale of unity and universal brotherhood that couldn’t have come at a better time. In an era where the people are divided and the world is driven by hatred and greed, this heartfelt tale of togetherness is refreshing to witness, something that results in a brilliant watch. Available in a theatre near you (from 6th March’26 onwards).