Movie Reviews
‘Hoppers’ review: Who can argue with hilarious talking animals?
Just when you think Pixar’s petting-zoo cute new movie “Hoppers” is flagrantly ripping off James Cameron, the characters come clean.
movie review
HOPPERS
Running time: 105 minutes. Rated PG (action/peril, some scary images and mild language). In theaters March 6.
“You guys, this is like ‘Avatar’!,” squeals 19-year-old Mabel (Piper Curda), the studio’s rare college-age heroine.
Shoots back her nutty professor, Dr. Fairfax (Kathy Kajimy): “This is nothing like ‘Avatar!’”
Sorry, Doc, it definitely is. And that’s fine. Placing the smart sci-fi story atop an animated family film feels right for Pixar, which has long fused the technological, the fantastical and the natural into a warm signature blend. Also, come on, “Avatar” is “Dances With Wolves” via “E.T.”
What separates “Hoppers” from the pack of recent Pix flix, which have been wholesome as a church bake sale, is its comic irreverence.
Director Daniel Chong’s original movie is terribly funny, and often in an unfamiliar, warped way for the cerebral and mushy studio. For example, I’ve never witnessed so many speaking characters be killed off in a Pixar movie — and laughed heartily at their offings to boot.
What’s the parallel to Pandora? Mabel, a budding environmental activist, has stumbled on a secret laboratory where her kooky teachers can beam their minds into realistic robot animals in order to study them. They call the devices “hoppers.”
Bold and fiery Mabel — PETA, but palatable — sees an opportunity.
The mayor of Beaverton, Jerry (Jon Hamm), plans to destroy her beloved local pond that’s teeming with wildlife to build an expressway. And the only thing stopping the egomaniacal pol — a more upbeat version of President Business from “The Lego Movie” — is the water’s critters, who have all mysteriously disappeared.
So, Mabel avatars into beaver-bot, and sets off in search of the lost creatures to discover why they’ve left.
From there, the movie written by Jesse Andrews (“Luca”) toys with “Toy Story.” Here’s what mischief fuzzy mammals, birds, reptiles and insects get up to when humans aren’t snooping around. Dance aerobics, it turns out.
Per the usual, “Hoppers” goes deep inside their intricate society. The beasts have a formal political system of antagonistic “Game of Thrones”-like royal houses. The most menacing are the Insect Queen (Meryl Streep — I’d call her a chameleon, but she’s playing a bug), a staunch monarch butterfly and her conniving caterpillar kid (Dave Franco). They’re scheming for power.
Perfectly content with his station is Mabel’s new best furry friend King George (Bobby Moynihan), a gullible beaver who ascended to the throne unexpectedly. He happily enforces “pond rules,” such as, “When you gotta eat, eat.”
That means predators have free rein to nosh on prey, and everybody’s cool with it. Because of bone-dry deliveries, like exhausted office drones, the four-legged cast members are hilarious as they go about their Animal Planet activities.
No surprise — talking lizards, sharks, bears, geese and frogs are the real stars here. They far outshine Mabel, even when she dons beaver attire. Much like a 19-year-old in a job interview, she doesn’t leave much of an impression.
Yes, the teen has a heartfelt motivation: The embattled pond was her late grandma’s favorite place. Mabel promised her that she’d protect it.
But in personality she doesn’t rank as one of Pixar’s most engaging leads, perhaps because she’s past voting age. Mabel is nestled in a nebulous phase between teenage rebellion and adulthood that’s pretty blasé, even if a touch of tension comes from her hiding her Homo sapien identity from her new diminutive pals. When animated, kids make better adventurers, plain and simple.
“Hoppers” continues Pixar’s run of humble, charming originals (“Luca,” “Elio”) in between billion-dollar-grossing, idea-starved sequels (“Inside Out 2,” probably “Toy Story 5”). The Disney-owned studio’s days of irrepressible innovation and unmatched imagination are well behind it. No one’s awed by anything anymore. “Coco,” almost 10 years ago, was their last new property to wow on the scale of peak Pixar.
Look, the new movie is likable and has a brain, heart and ample laughs. That’s more than I can say for most family fare. “A Minecraft Movie” made me wanna hop right out of the theater.
Wasteman, 2025.
Directed by Cal McMau.
Starring David Jonsson, Tom Blyth, Alex Hassell, Neil Linpow, Paul Hilton, Corin Silva, Layton Blake, Jack Barker, Fred Muthui, Lunga Skosana, Robert Rhodes, Keaton Ancona-Francis, and Cole Martin.
SYNOPSIS:
Follows parolee Taylor whose fresh start hopes are jeopardized by cellmate Dee’s arrival. As Dee takes Taylor under his wing, a vicious attack tests their bond, forcing Taylor to choose between protecting Dee and his own parole chances.
Backing up its intentions and messaging with real spliced-in cell phone footage of rowdy, uncontrollable prison behavior in an understaffed British penitentiary, director Cal McMau’s narrative debut feature Wasteman (from a screenplay by Eoin Doran and Hunter Andrews) is often purposely, effectively disorienting. That’s not merely limited to be incorporated leaked footage (this is a prison that, in some respects, is more of a recreational facility than one for rehabilitation, since the guards are in such low quantity, all while the incarcerated are rather easily smuggling drugs through drone technology while typically unbothered in their jail cells playing video games in between hard partying or fighting one another), but the brutality as well, with claustrophobic, tilted camera angles and a shakiness that lends a visceral grime to that physicality.
The exception to this disorder seems to be rising star David Jonsson’s Taylor, still using drugs but also consistently avoiding any such drama. He is quiet and timid to the point where he not only comes across empathetic, but one wonders how he became locked up alongside an otherwise degenerate bunch. It turns out that due to a new law going into effect, some prisoners will be released on good behavior, which, in Taylor’s case, means that he is far from a problem here despite abusing drugs. Nevertheless, he is nervously excited about the possibility of reconnecting with his teenage son, even if a phone call with his separated ex-partner makes it clear that she is firmly against such a reunion.
There also wouldn’t be a film here without a wrench being thrown into that impending release back into society, which is where the introduction of new cellmate Dee (a manipulative and psychotic Tom Blyth) enters as an inmate more concerned with taking over the in-house drug dealing hierarchy rather than fronting anything remotely close to good behavior. By extension, this jeopardizes Taylor’s chances of being released. That’s also not to say Dee doesn’t have his friendly moments, such as letting Taylor use his phone to reconnect with his son on social media.
Where Wasteman makes up for in familiar plotting is its sense of authenticity, which comes through not only in the previously mentioned cuts to rowdy cell phone footage but also in the decision to work with a charity and round out the rest of the ensemble with formerly incarcerated individuals who are now reformed. One gets a full sense of the microcosmic incarceration society, the pecking order, and just how low on the rung Taylor is, since he isn’t like most of the others. There is also a full-blown riot at one point that parallels and mirrors the clips of authentic footage. It’s scripted, somehow almost feeling as dangerous.
When Wasteman inevitably comes down to a bond tested between Taylor and Dee, that too is less about thrills and more to do with capturing rawness; part of a brawl here contains one character vomiting on another, driving home just how dirty, literally and figuratively, the film gets in its unflinching depictions of life on the inside for this particular penitentiary. It’s fiction with a dash of documentary, each with bracing importance. It’s enough to ensure the film doesn’t go to waste for its minor shortcomings.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
https://www.youtube.com/watch?v=embed/playlist
Ryan Gosling in Sony Pictures’ ‘Project Hail Mary’
Now in Theaters
“Project Hail Mary”
(Amazon – MGM Pictures)
Rated PG-13
“I put the ‘Not’ in ‘astronaut!’
When was the last time you walked out of movie theater feeling not only better about humanity but also our future?
Based on the revered 2021 Andy Weir novel of the same name, and adapted for the screen by Drew Goddard (“Buffy the Vampire Slayer,” “Daredevil” and “The Martian”), “Project Hail Mary” is an ingeniously crafted and perfectly paced sci-fi drama about a biologist and school teacher who wakes up from a coma aboard a spacecraft that’s on a mission to save all life on Earth. As both the star and co-producer, it took Ryan Gosling seven years to bring this vastly entertaining instant classic to the big screen, and it was so worth the wait.
Admittedly, I wasn’t thrilled with the trailers or even the tone that seemed to give ABC afterschool-special vibes. But after seeing it in its entirety, everything about it blew me away.
Who Are We?
Bursting with fascinating and enthralling moral quandaries, it makes viewers question themselves and our species. And refreshingly, “Project Hail Mary” is a magnificent “grand idea” kind of story that seamlessly weaves themes of self-preservation, obligation, the intrinsic meaning of humanity and most powerfully (and surprisingly) friendship. You will come away with fresh personal revelations and deep, self-examinations that you probably never intended to ponder, which is the beauty of epic sci-fi tales like this. They force us to muse about the kinds of societies we want to live in.
And with the wondrous inclusion of Gosling’s all too real co-star Rocky, I became so emotionally gripped, that I was close to tears a few times. I just love it when a film not only challenges but surpasses whatever preconceived notions you may have held about it beforehand.
Intensely moving, meticulously thoughtful, endlessly nuanced and massively entertaining, it’s easy to see why “Project Hail Mary” is already considered one of the best films of the year.
-@TheAndreKelley
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ONLY IN THEATERS
“You, Me & Tuscany”
(Will Packer Productions)
Rated PG-13
“You pretended to be the White Italian man’s fiancé?
But ended up catching feelings for the Black Italian cousin-brother?”
As expected, “You, Me & Tuscany” is really, really cute. Halle Bailey (“The Little Mermaid,” “Grown-ish”) and Rege-Jean Page (“Black Bag,” “Bridgerton”) are initially combative, though there’s little doubt as to where the two are headed in this charming and delightfully executed story. Writer-producer Will Packer (“Think Like A Man,” “Girls Trip”) outdid himself in this colorful, feel-good, family-friendly, classic comedy of errors.
Glorious Tuscan Countryside
And while making excellent use of the lush and intoxicating Tuscan countryside, what I found curiously effective was that the dynamic of the ensemble became as big a part of the film as the romance itself. Surprisingly, I was completely caught off-guard as those familial aspects developed. And though Rege-Jean Page is not my cup of tea (too skinny, too pretty) as a lead, I now see why women react to him the way they do. He’s a very good dramatic actor, he holds attention quite easily on the big screen and of course, that face-card would never be declined.
Also, with Black women now becoming the most educated, economically-empowered and increasingly, well-traveled demographic of society, Packer smartly captures that zeitgeist with this well-produced and topically focused vacation vehicle.
Notably, his critically-acclaimed and commercially successful “Girls Trip” was domestically based whereas Tuscany makes faithful and fantastic use of the kinds of village locales and gorgeous countrysides we’d all like to visit. So what better way to explore and find parts of ourselves while also falling in love than abroad?
A Welcome Genre Update
And finally, be it his television shows or movies, I sincerely love Will Packer’s upscale treatment and desperately needed update of the romantic-comedy genre. Typically, the majority are White and situation-based, whereas this one was Black-centered and in an international setting. So, those aspects alone I genuinely enjoyed.
I’m a sucker for thoughtful production with Black folks looking great, being well-lit and shot properly. We don’t often get passport-driven international fare with a wonderful balance of warmth, humor and heart like this, so don’t wait to stream it. “You, Me & Tuscany” is well worth the trip.
@YOUMETUSCANY
#YOUMETUSCANY
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NOW IN THEATERS
“Hoppers”
(Pixar) Rated PG
“Let’s squish the humans!”
Impressively, within mere minutes of its opening we get a solidly hilarious understanding of Mabel Tanaka’s deeply feisty affinity for animals, and her incessant, almost uncontrollable desire to help them.
Voiced delightfully by Piper Curda (Disney Channel’s “A.N.T. Farm”) as the willful and resourceful protagonist, she makes quick use of new technology that allows her to infiltrate and talk to the animal kingdom.
John Hamm (“Bridesmaids,” “Mad Men”) is fantastic as her arch nemesis, the town’s preening and vainglorious, Gavin Newsom-esque Mayor Jerry, who’s behind the ominous threat to the very habitat that Mabel and her friends are fighting to defend.
State-of-the-art Animation
And true to the magnificent legacy of Pixar’s usual flawless execution (“Hoppers” is their 30th film) the state-of-the-art animation is absolutely gorgeous and intriguing to look at. Much of it, especially with regard to the larger animals, is unlike anything I’ve ever seen. You almost want to reach out and touch them. The hair and body textures are next-level fascinating and so lifelike, it’s as if you’re watching plush animals come to life in this brilliantly spooled sci-fi comedy.
And don’t get it twisted nor let the animation aspects of talking animals fool you. There are some very clear (as well as oblique) nods to our current reality that make this more than what it appears on the surface. Ingeniously, it imparts universal themes of cooperation, community and inclusion, as well as a plethora of life-lessons we want all young people exposed to.
Stay for the Credits
Unfortunately, there’s no usual Pixar short at the beginning of the movie and like any Marvel film, I strongly urge you to stay for the end credits. Witty, warm and a bit whimsical, “Hoppers” is brimming with hilarious and heartfelt laughs and lessons.
And with everything that’s currently happening in our world, there’s never been a better time to enjoy what’s going on in someone else’s.
Good news, grown-ups, even though most of the screens at your local theater are probably still devoted to “The Super Mario Galaxy Movie,” there’s a decent option for adults in one of the other houses. I’m convinced that “The Drama” has stayed in the top three at the domestic box office for the past two weekends by reeling in parents who don’t want to watch Mario with their kids, but don’t want to leave the theater. Or it could be good advertising, good word-of-mouth, good reviews, or other non-cynical reasons.
The film follows Charlie (Robert Pattinson) and Emma (Zendaya), a nauseatingly-cute Boston-area couple a week away from their wedding. He’s a bit of a creep and she doesn’t talk much about her military-family upbringing, but they’re sure they can learn to live with each other’s foibles, after all, they’re in love. Hopefully it’s not much of a spoiler to say that their love will be tested over the course of the film as they deal with, well, drama.
That drama first rears its head at a couples’ dinner with friends Mike (Mamoudou Athie) and Rachel (Alana Haim). Rachel has the bright idea to have everyone at the table reveal the worst thing they’ve ever done. I’m not sure what the “best” case scenario is for a game like this, but it certainly ends in one of the worst. Emma makes the grave miscalculation of thinking that she has the forum to be honest, and reveals a secret that ruins everybody’s night.
I joked about spoilers earlier, but when it comes to Emma’s secret, things are more difficult. Unlike traditional spoilers, this one comes early in the movie, when she and Charlie are still in their “honeymoon phase,” so to speak. Not revealing the secret makes it hard to look at the rest of the movie, but it’s in the movie’s best interest that the audience is taken off-guard so they don’t have time to form opinions about the controversial subject matter in advance.
What I can say is that once Emma’s secret is revealed, Charlie can’t look at her the same way again. He tries to put it out of his mind, but… if you’re told not to think of a red umbrella, you think of a red umbrella, and Emma’s secret might have involved some red umbrellas if people were carrying umbrellas. It is worth noting that Emma’s secret does not involve tangible victims or require tangible consequences. All it can do is affect how people think of her, which is invariably some form of “worse.”
Emma’s secret drives Charlie to madness in his relationship with his friends, his assistant (Hailey Gates), and especially Emma. Eventually his insecurities drive her crazy, and by the time of the wedding, they’re quite the dysfunctional couple. They’re talking about spending the rest of their lives together, but can the relationship even survive the reception? Let’s just say that there will probably be a lot fewer fantasies about getting married to Robert Pattinson after this movie.
“The Drama” really clicked with me, even though its appeal lies in a dark, awkward, cringey comedy that I don’t normally like. Probably the highlight of the film for me was a scene from the trailers, where Charlie and Emma try to pose for wedding photos like everything is okay when it definitely isn’t. It’s not hard to tell from the trailers that “something” is off, but the added context made it funnier than it ever was when being cryptic (though being cryptic was the right tone for the trailers). I recommend this film, but try to wear a beat-up shirt that you won’t mind stretching out from tugging at your collar.
Grade: B
“The Drama” is rated R for sexual content, some violent/bloody images, language throughout, and brief drug use. Its running time is 105 minutes.
Contact Bob Garver at rrg251@nyu.edu.
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