Zootropolis
Directors: Byron Howard, Rich Moore, Jared Bush
Starring: Ginnifer Goodwin, Jason Bateman, Idris Elba, J.K. Simmons, Octavia Spencer, Jenny Slate, Shakira
Since late 2013, Walt Disney Animation Studios has had the blessing and curse of producing pictures in the aftermath of Frozen. The record-breaking ice giant currently ranks as the highest-grossing animated movie of all time, further confirming Disney as the undisputed master of its craft, but giving subsequent pictures an even higher benchmark to meet.
As with 2015’s Big Hero 6, Zootropolis (released in the US as Zootopia) is a smart, funny and thought-provoking movie, fantastic for children and adults alike. It will stay in the hearts and minds of viewers — but it won’t stop “Let it Go” being stuck in their heads.
Set in a universe populated by anthropomorphic mammals, the film follows Judy Hopps (Ginnifer Goodwin), an eager and idealistic young rabbit from a small town dedicated to becoming a police officer in the big city. During her duties she comes across Nick Wilde (Jason Bateman), a red fox con artist, who eventually becomes key in a search for a series of missing animals.
Everyone comes to Zootopia, thinking they could be anything they want. But you can’t. You can only be what you are.
In the footsteps of Frozen, Brave and Inside Out, Zootropolis gives its viewers a refreshingly complex female protagonist. Judy is clever, determined and brave, but is susceptible to doubts and mistakes. It is gently suggested that her constant optimism borders on naivety; meanwhile, Nick’s jaded cynicism is portrayed as foraying into bitterness.
The partnership between the two develops gradually but firmly, as both Judy and Nick learn to soften their outlooks and learn from one another’s experiences.
Their friendship is strongly aided by excellent performances from both Goodwin and Bateman. Goodwin expresses all of Judy’s positivity with dashes of humour and intelligence, while Bateman’s dry wit accentuates Nick’s charm effortlessly.
We may be evolved, but deep down we are still animals.
The two are joined by bright, engaging performances from a host of talented actors, including Idris Elba, J. K. Simmons and Octavia Spencer. But, as expected from the most accomplished animation studio there is, Zootropolis doesn’t just sound great, it also looks magnificent.
Disney animators have evidently revelled in the opportunities Zootropolis presents. The titular city provides a vast array of settings in its sprawling vicinity. From afar, skyscrapers and zooming transport dominate the skyline. Closer in, the city contains everything from the arid sands of Sahara Square, through the sweeping vines of Rainforest District, to the pristine snowflakes of Tundratown — providing all animals with a habitable environment, and all viewers with sumptuous landscapes.
Get Swéta Rana’s stories in your inbox
Join Medium for free to get updates from this writer.
Looking closer still, the detail on each minute facet of Zootropolis’ visuals is breathtaking. Every individual fur sways with the breeze; shots of cliffs and trees look photographic. The animation also works to provide an extra layer of emotional communication, for example Judy’s usually perky ears drooping when she’s sad.
The more we try to understand one another, the more exceptional each of us will be.
Disney never fail to deliver on spectacular visual storytelling, and Zootropolis is no exception. Likewise, Disney have always endeavoured to do more than tell a simple narrative. Their films contain complex themes and feelings, often exploring friendship, love and morality.
Zootropolis, with its references to different factions of animals and a distinction between predators and prey, is especially timely for commenting on the potential powers of prejudice. Its fundamental message of open-minded multiculturalism is summed up very early in the movie, as Judy comments on a childhood bully: “[He] was a jerk who happened to be a fox. I know plenty of bunnies who are jerks.” She refuses to paint any individual according to a bigoted stereotype.
Nevertheless, as the animals of Zootropolis get caught up in their own suspicions and fears, Judy watches as “Us vs Them” mentality begins to infiltrate her beloved city — and threatens to colour her own attitudes. Though the allusions to present-day racism and xenophobia may be lost on younger children, they create conflict within the film’s universe as well as a thoughtful allegory of the real world.
The world has always been broken. That’s why we need good cops.
Consequently, Judy’s resolve in the face of adversity, and her burgeoning partnership with her supposed natural predator Nick, are especially inspirational. Zootropolis’ championing of trust over fear is enchantingly resonant.
The relatively serious subject matter means Zootropolis’ scope for humour and sentiment, while abundant, is somewhat limited when compared to its peers. Though comedy is rife — there are animal puns galore, a DMV staffed with interminably slow sloths, and the inherently funny possibilities of a singing gazelle voiced by Shakira — the movie’s copiousness of darker, pensive moments mean Zootropolis isn’t as light-hearted as Disney’s usual fare.
As a result, Zootropolis doesn’t conjure the same enthusiastic sentiments as a film like Frozen. There is much to love about it, but its ethics are too skewed from the personal to the general. Zootropolis succeeds most when it focuses on Judy and Nick; its exploration of wider moral concepts is admirable and welcome, but sometimes detracts from the film’s emotional core.
No matter what type of animal you are, change starts with you.
With John Lasseter as chief creative officer and Michael Giacchino providing a score, it is little wonder that Zootropolis heavily comes across as a Pixar-influenced production. As with Pixar, the possibilities of animation to tell an immersive, compelling story are fully realised here.
Zootropolis’ exploration of bigotry is especially pertinent in today’s world of racism and predisposed judgements, although this aspect of Zootropolis is sometimes sustained for too long, bogging down the film’s warmth and sense of personal growth. It won’t reach the phenomenal success of Frozen, but nevertheless, Zootropolis is an intelligent, entertaining and provocative film for all ages.
