REVIEW: “Hoppers” (2026)

(Source: IMDb) 

Before its theatrical release this past weekend, people have already been saying that Pixar’s latest is their funniest movie to date. (If you were to ask me, I’d argue for a bug’s life and/or Monsters University. Unpopular opinions, maybe. But trust me, they’re worth it.) On the surface, Hoppers seems like a conventional, save-the-forest comedy with human beings transferring their minds into robotic forest critters—a premise that undoubtedly rides the coattails of Avatar (which they directly reference in the marketing). To those going in with those same expectations: you may be surprised. 

Mabel (voiced by Piper Curda) is an eighteen-year-old girl who loves animals and the forest. So much so, that she’s willing to stand up to protect and defend them, even if it means getting in trouble for it. And she certainly has a knack for that at school, as well as with local authority figures, considering her sometimes questionable, rebellious behavior. As she tries to rally support to save a glade from being destroyed and transferred into a city highway, she discovers a secret, experimental science program that one of her professors has been running and seizes an opportunity. And that’s only the premise. 

This film goes in directions I honestly did not expect it would go, and took risks I did not expect it to take. Again, what seems like a predictable narrative turns out to be one of the most original, creative, and entertaining concepts I’ve seen in recent years. And not just for Pixar. Two theatre patrons who attended a screening opening weekend commented that Hoppers wasn’t “overly preachy.” And I agree, as the film puts a fresh spin on the environmental story angle. The artistry and tone is also, at times, atmospheric and moving, especially when Mark Mothersbaugh's otherwise encompassing score takes a break and leaves space for something quiet and meditative (“Be still, watch, and listen”). 

The animation style reminds me not only of the studio’s previous coming-of-age fantasy-comedy, Turning Red, but also Isao Takahata’s underrated forest animal story (via Studio Ghibli), Pom Poko. Similar elements include cute character designs (especially with the animals—from both human and non-human perspectives, respectively), engaging personalities (beaver king George, voiced by Bobby Moynihan, is a delight), hysterical comedy (fast-paced and witty), macabre and genuinely scary scenes (including one creepy and bizarre twist), and bold, sincere drama (some emotionally intense). Not to mention cultural representation. (Be sure to stay through the credits on this one a la Finding Nemo.) 

Perhaps the film’s strongest message is that, sometimes, being passionate about something can go too far, especially when it’s misguided or for the wrong reasons. On one hand, we see that Mabel had a special relationship with her grandmother, who encouraged her to respect—and soak in—nature (a personal angle for first-time feature director Daniel Chong); they even had a special place they would go to for that purpose (hence, the aforementioned glade). On a different not, there are heartbreaking references to animals who've lost their homes. As such, the movie puts a new (though comical) perspective on what happens when nature is interfered with, how nature fights back, and when trust is broken. But the story isn’t one-sided, which is smart, and helps make the movie more sincere. Hoppers also challenges viewers to look beyond differences and trust issues to work with people you don’t agree with (including a seemingly-snooty mayor, voiced by Jon Hamm), but who care nonetheless. This leads to believable changes of heart and mind for more than one character. Not to mention emotional and mental journeys from pride to humility. Ditto themes of parenthood, community, and friendship. 

I'll say it again: Hoppers is a pleasant surprise. And, agreeably, one of Pixar’s funniest films to date, if not their funniest. It’s also already one of the best films of 2026. Like that glade, it’s that good.