Review of Zootopia

Zootopia takes the anthropomorphism of animals to another level. Sure, animators have been in love with the idea of walking, talking animals for decades, but Disney and co-directors Byron Howard and Rich Moore have created something special here. They don't stop just at the amusing level of animals wearing clothes like us and living like us; they go beyond. They follow the classic "dual-layered" approach that many of the best animated feature films employ, making sure kids and the parents who bring them to the theater are equally entertained. Zootopia is lively, bursting with wit and imagination, and as visually astonishing as the best animation out there, but its satire and social commentary elevate it far above most of its competitors. This is arguably the best computer-animated film Disney has made without the help of Pixar.

Like many great Disney films, Zootopia features a plucky female lead looking to make a difference in the world. There's a twist, however, in that the bunny Judy Hopps (voice of Ginnifer Goodwin) isn't royalty but a working-class citizen struggling with advancing her career. Raised in a rural environment, Judy's dream is to become the first rabbit police officer of Zootopia, a sprawling, lavish metropolis featuring all manner of environments and species living in harmony. She graduates at the top of her class, but Chief Bogo (voice of Idris Elba) is none too impressed, assigning her to parking ticket duties while his experienced officers handle "missing persons" cases. Judy strikes gold one day when she seizes an opportunity to apprehend a weasel thief, but then the embarrassed Chief gives her an ultimatum: solve the department's latest missing otter case in 48 hours or turn in her badge. This forces her to form an uneasy alliance with con-artist fox Nick Wilde (voice of Jason Bateman) on her way to exposing a massive cover-up.

Visually, Zootopia tops any of Disney's previous attempts in computer animation. The various locales of the titular city are a wonder to behold, whether they be bustling city streets, a snowy wonderland, or a tropical rainforest (which are somehow all right next to each other despite the different temperatures-- don't ask). One of the movie's most impressive action sequences involves Judy chasing a weasel through a rodent-sized town where she suddenly becomes Godzilla-sized in relation to everything else. Even if the story was weak (which it certainly isn't), Zootopia would be worth seeing purely for its visual creativity, depth and high-energy approach.

What starts out as a deceptively simple "follow your dreams" animated narrative quickly evolves into a cop/buddy film, albeit one with a heavily satirical edge. These may be kid-friendly animals, but they speak with a wit and vocabulary that older viewers will find delightful. Some of Zootopia's biggest laughs come from lampooning institutions and social conventions, only with animals standing in for humans. To that end, we have, among other things, a lion mayor (voice of J.K. Simmons) pushing a diversity agenda, a nudist camp where animals hang out "au natural," and a DMV run by incredibly slow sloths. If you think that latter concept sounds funny on paper, you'll find the execution is laugh-aloud hilarious in too many ways to count.

Zootopia contains a timely message about stereotyping, profiling, and micro-aggressions, and the nuance with which the filmmakers deliver it belies the cuteness of the animated creatures on screen. From Judy's reminder to an employee that only a bunny can call another bunny "cute" without it being offensive, to the satirical way celebrity singer Gazelle (voice of Shakira) lends her voice to a protest rally (#PredatorLivesMatter, perhaps?), Zootopia makes its point clear to kids and adults simultaneously. Every character, whether predator or prey, has to confront his/her own bias at some point. That includes Judy, who in spite of being the unquestionable hero of this story has to learn from some crucial mistakes of her own (highlighted in an excellent news conference scene, which offers real emotion while also skewering both police and news media). Howard, Moore, and screenwriter Phil Johnston don't preach or talk down to viewers, but instead carefully integrate this material so it evolves naturally out of the plot.

Zootopia is a multi-layered triumph I didn't see coming. For an in-house Disney production, its combination of social commentary, satire, and emotion is fresh and exciting, and it's an immediate contender for the Best Animated Feature Oscar next February. It continues to push limits visually, and there's not a weak link in the cast (it helps that virtually everyone here, save for perhaps J.K. Simmons, has a relatively anonymous voice). But above all, it has Judy and Nick, two three-dimensional animals you'll care about as much as you would any human in their place. In the dazzling world of big-budget computer animation, Disney has made something that can stand proudly alongside its critically-acclaimed Pixar siblings.

Rating: ***1/2 (out of ****)