IR Film Review: HOPPERS [Pixar/Disney]
In the lexicon of Pixar, "Hoppers" is an interesting swing but, like "Onward", is a little uneven and at times not as sure of itself as it should be. But like "Inside Out", one of its best, it is a supporting character like Richard Kind's elephant that really brings the story to bear. Here it is a character called George. The situation and how it builds tries to be grounded while being lyrical like "Up" but it feels a little imbalanced because the message seems to outweigh the humor and therefore the heart, though it does peak through now and again. The film follows Mabel (Piper Curda) who has trouble connecting but through her grandmother understands nature and fights to protect it, though in the overall construction of the community she might not understand it really at all. Her nemesis is Mayor Jerry (Jon Hamm) who just wants to build a beltway around a mid sized metropolis (Beaverton) which would take out a glade where Mabel spent her childhood in and where she found her love for animals. The Hopper aspect is a technology plot ploy whereas some university professors create a way for the soul to inhabit an animal robot whereas they seem natural and can speak with the other animals.
It is a bit of a suspension of disbelief (more than Pixar usually does) but it is what it is. Mabel ends up taking over one of the robots and causes a commotion of sorts against her own better judgment. There is some interesting side characters but none more interesting than the way the Pixar guys and gals figure out to do King George (Bobby Moynihan). It is not so much Moynihan's performance (though that is adequate) but how the communication shifts between him and Mabel throughout and the hurt and connection you see, particularly from George. George is just trying to save his people and he seems aloof and yet he trusts and sees the good in everything. This is such a rich character inside a story that only has a few that really stand out. The movie does try for slapstick at times but certain moments (like one on the side of the river when Beaver Mabel is about give up) that really makes it work and it is because of George (a simple hug). The third act is a bit like barely organized chaos especially when the baddie reveals himself. Without giving too much away, Dave Franco gives the character a bit of manicness.
However what is interesting is how a bit more darker elements are making their way into Pixar films. This is not unwanted as some adult themes, without going too far overboard, really help to ground some stories. The plot here though is not really huge in scope (or any kind of reality per se) and yet its stakes are both solid and all over the place. The hierarchy in the animal kingdom and "pond rules" are interesting since they still explain Darwinian theory without losing track of certain idioms of the animal world. The council of animals that eventually convenes is supposed to be both comedic and yet intrinsic and one can see that. And yet one action of Mabel is pretty finite in what it does. It is not violent (and yet in a way it is). The eventual resolution is also a bit chaotic again but what grounds every moment (especially at one point when Mabel is brought back to her body -- and how George responds) and then at key moments throughout the rest into the final moments, is George. It is key in how the animators move his different looks and responses between inside and outside the animal world. That is the true strength and beauty thing in this film. "Hoppers" is alright and effective overall (though a little bit too tree-huggy at times) but King George gives it its sense of breath. B
By Tim Wassberg
