ReView: ‘Zootopia’ ‘Tries Everything’ and Says Nothing

Released March 2016, “Zootopia” debuted as Disney’s latest crowd-pleasing juggernaut.

Nearly a decade later, “Zootopia 2” is set to scurry into theaters Nov. 26. 

The Oscar-winning “Zootopia” is one of Disney’s few animated features to breach $1 billion at the worldwide box office, according to The Numbers.

But was the original ever worth the uproar? No.

When Judy Hopps (Ginnifer Goodwin) becomes the first rabbit to join Zootopia’s Police Department, she quickly learns how tough it is to earn respect in a force dominated by larger animals. 

Determined to prove herself, Hopps jumps at the opportunity to solve a mysterious missing mammals case — stringing along the conniving fox Nick Wilde (Jason Bateman) in her pursuit. 

Together, the duo uncover a sinister plot by interim Mayor Bellwether (Jenny Slate) to frame predators as savages and seize control through fear.

Through its plot, “Zootopia” positions itself as an allegory for the dangers of racism and bigotry.

The film quickly frames predators as a marginalized minority group. From small towns to the big city, they are routinely stereotyped and demeaned based on outward appearance.

While this parable is easy for young viewers to grasp, it’s counter-intuitive as it glorifies policing institutions while attempting to address heavy topics like racial stereotyping and implicit bias.

National studies consistently show that Black and Latino individuals experience disproportionately high rates of police stops, searches and use of force, according to NBC 5 Chicago. This disparity highlights how “Zootopia’s” upbeat portrayal of policing flattens real structural biases, weakening any attempt at a meaningful allegory.

If “Zootopia” aims to build trust in law enforcement, then Hopps was a terrible narrative vessel.

From extorting and endangering the life of Wilde to coercing witness testimony with false information, Hopps is far from the virtuous figure the film presents her as. Even after inciting a race war, Hopps’ teary-eyed apology and quick reinstatement erase any memory of the prejudice she sparked. 

Hopps at least shows some accountability, admitting her biases occasionally throughout the film. Yet after fueling mass hysteria, her first instinct is to abandon Zootopia. She only resumes the case when her parents’ knowledge of the Night Howler plant inspires her return — implying she’d never have continued the investigation otherwise.

Wilde’s relationship with Hopps is also questionable.

His swift affection for his detainer borders on Stockholm syndrome upon closer analysis. He’s extorted, endangered and publicly stereotyped by the very woman he falls for, ultimately joining an institution that failed to hold her accountable.

Beyond the blatant copaganda and poor writing, “Zootopia” still delivers genuine highlights.

Bateman (“Arrested Development,” “Ozark”) and Goodwin’s (“Walk the Line,” “Mona Lisa Smile”) endearing performances help mask the rushed writing, making the duo charming enough for viewers who don’t think too hard about it.

The pair explore every corner of Zootopia, crafting a vibrant, fully realized world of distinct communities and cultures. Locations are frequently revisited, so each district feels authentic and more than a mere plot point.

Unlike Disney’s previous movies, “Zootopia” is not a musical.

Michael Giacchino’s score consists primarily of percussive instruments, highlighting the urban and literal jungles the characters find themselves in. Soft notes of piano occasionally drift in as the film hops between action and dejection.

Tonally, “Zootopia” masterfully conveys the tension between big dreams and the complicated reality of pursuing them.

As Disney’s stumbled with its recent animated releases like “Wish” and “Elio,” “Zootopia” stands out as an expressive, thoughtfully detailed film that visually triumphs much of the studio’s 3D filmography.

Slate’s (“Everything Everywhere All at Once,” “Venom”) portrayal of the sheepish-yet-sinister Bellwether is one of the character’s few redeeming qualities. Her bumbling charm helps mask her villain reveal nearly as effectively as the script does — which is to say, by failing to set it up.

While the twist itself is tolerable, it ultimately plays as a beat-for-beat rerun of “Monsters, Inc.’s” third act.

When viewed for what it is, “Zootopia” is an adequate children’s movie about the dangers of prejudice and fear-driven thinking. Looking closer, the film is misguided in its attempts and ultimately undermines its own allegory.

“Zootopia” is available to stream on Disney+.