Movie Reviews

Last Swim Film Review: Charming Debut

Published

2 years ago

February 24, 2024

Sasha Nathwani’s Last Swim is a bittersweet vignette of a teenage awakening, full of turbulence, laughter, and poignant realizations about what we all live for.

Sasha Nathwani’s debut feature film Last Swim won the hearts of the jury at the 74th Berlin International Film Festival. What earned it the Silver Bear for Best Film in the Generation 14plus category is its touching celebration of youth and the overcoming of fear in the face of painful hardships.

Last Swim captures a fateful day in the life of Iranian teenager Ziba (Deba Hekmat), which is momentous and crucial for her future on multiple fronts. On one hand, she and her friends are receiving their final exam results, which are decisive for their acceptance into college programs; on the other hand, she has secretly decided to make her own life-changing decision to escape a greater suffering she doesn’t talk about. What ensues is an eventful, meticulously planned trip across the hidden gem spots of London and the unraveling of Ziba’s internal torments.

Throughout its runtime, Last Swim elegantly dances between masked melancholy and wholesome humor while knowing exactly how to channel the messy vivacity of being young, overwhelmed with fear of life and joy of life.

Ziba is a likable, flawed character with a secret. She appears and exits the screen with a clear objective, clear motivation, and clear obstacles standing in her way. Her decision-making as well as her transformative arc visibly tick all the boxes of a formulaic character-building checklist. We hit all the common beats on the route of her development, but the persuasiveness of the story hides in its technical and artistic execution.

The urban setting breathes life into this coming-of-age journey. There’s an indescribable spirit to the film due to the way it portrays the vibrancy of a London summer, reminiscent of the recent energetic (although very differently stylized) rom-com Rye Lane (2023). The city feels as young as the characters roaming its streets.

The effortlessly gorgeous cinematography (Olan Collardy) works in tandem with the actors’ naturalistic performances, giving the film a casualness that makes it more delightful to watch and more inviting to invest in the friend group’s buzzing chemistry. The interactions between the four come across as genuine and relaxed, as if they aren’t trying too hard, in the best way possible.

Lydia Fleming, Deba Hekmat, Denzel Baidoo and Jay Lycurgo cycle in the film Last Swim — **Lydia Fleming, Deba Hekmat, Denzel Baidoo and Jay Lycurgo in Last Swim** (© Caviar, Pablo & Zeus / Berlinale)

Tara (Lydia Fleming), Merf (Jay Lycurgo), and Shea (Solly McLeod) luckily do not tumble into the traps of the coming-of-age genre and its frustratingly stereotypical portrait of the sidekicks, bound to the protagonist by the script and the script alone. Ziba’s friends are not defined by particular teenage archetypes. Their distinct qualities are not written in to serve purposes. They are written in to flesh out their humanity, crafting them into three-dimensional, layered, confused young adults the audience could believe.

The original score (Federico Albanese) is an everpresent element of Last Swim: urban, energetic, and most importantly, a culturally balanced infusion of Ziba’s British and Iranian heritage, blending in more commercial beats with the traditional, serving as subtle, complementing colors on a backdrop for Ziba’s individuality.

Sasha Nathwani’s background as a music video director quite visibly comes through in his multiple slow-motion “happy moment” montages of Ziba smiling and laughing with her friends, which grow a tad redundant once we pass the third one. Their emotional impact diminishes with every next attempt at conveying the young innocence of those moments with the same exact technique.

Towards the transition into the second act, the friends are joined by an unfamiliar acquaintance named Malcolm (Denzel Baidoo), whose involvement in the group becomes an important catalyst for Ziba’s self-discovery but never cements its necessity more than just on a narrative level. What I’m referring to is not the character dynamics he creates or is written in, but the natural integration of his storyline to the point where it matches the rest. The barrier between Malcolm and the four never really recedes completely. The chemistry there remains forced until the end, especially in contrast to the effortless chemistry of Ziba, Tara, Merf, and Shea, and especially after the film’s abrupt emotional shift in the third act.

With all its good and bad, Last Swim is an impressive debut feature film from Sasha Nathwani, who already displays refined control over his artistry through the lens of a sentimental letter about growing up in London and coming to terms with one’s own mortality and appreciation of life.

Last Swim premiered at the 2024 Berlin Film Festival, where it won the 2024 Youth Jury Generation 14plus Crystal Bear for Best Film.

Movie Reviews

‘Hoppers’ review: Pixar’s best original movie in years

Published

5 hours ago

March 3, 2026

Press Room

‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

HOPPERS opens in theaters Friday, March 6th.

Movie Reviews

‘Hoppers’ review: Who can argue with hilarious talking animals?

Published

17 hours ago

March 3, 2026

Press Room

‘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.

Movie Reviews

Review | Hoppers: Pixar’s new animation is a hilarious, heartfelt animal Avatar

Published

1 day ago

March 2, 2026

Press Room

4/5 stars

Bounding into cinemas just in time for spring, the latest Pixar animation is a pleasingly charming tale of man vs nature, with a bit of crazy robot tech thrown in.

The star of Hoppers is Mabel Tanaka (voiced by Piper Curda), a young animal-lover leading a one-girl protest over a freeway being built through the tranquil countryside near her hometown of Beaverton.

Because the freeway is the pet project of the town’s popular mayor, Jerry (Jon Hamm), who is vying for re-election, Mabel’s protests fall on deaf ears.

Everything changes when she stumbles upon top-secret research by her biology professor, Dr Sam Fairfax (Kathy Najimy), that allows for the human consciousness to be linked to robotic animals. This lets users get up close and personal with other species.

“This is like Avatar,” Mabel coos, and, in truth, it is. Plugged into a headset, Mabel is reborn inside a robotic beaver. She plans to recruit a real beaver to help populate the glade, which is set to be destroyed by Jerry’s proposed road.