In the modern era, it almost seems required that a film geared at mainstream audiences MUST feature progressive themes. This features the garden variety of racial diversity, female empowerment, and other socio-political analyses of the modern climate. While most of the films have done admirable work to do this, there are often those moments that feel shoehorned in and obvious, as if choosing to land on the sunnier side of preachy. Joining the camp is Disney's latest film Zootopia; a rare original property from the studio that manages to turn commentary of diversity not into a male-female/black-white debate, but a more general commentary on culture being construed by the media. While not quite at the level of Pixar's earnestness, it still manages to pack laughs and thoughts in some of the most creative ways so far this year.
At times, the story is reminiscent of the Nick Nolte/Eddie Murphy classic 48 Hrs. with its two protagonists. There's the do-gooder rabbit cop Judy Hopps (Ginnifer Goodwini) and criminal fox Nick Wilde (Jason Bateman). Both are in some ways misunderstood by their societal structures. Judy is too small. Nick is too sneaky. Yet they're the only hope when it comes to solving a case in a city where all different species cohabitate peacefully. The mystery is best left to the viewer, who is treated to the typical kiddie humor by way of neo-noir. Disney excels at creating an energy about its story, forming one of their biggest overloads of creativity since Wreck-It Ralph. Thankfully with returning co-director Rich Moore, the film has enough of a heart without too much sap.
What is possibly the most exciting thing about being yet another progressive commentary film in an era where everything is talking is that the issues aren't presented with the familiar archetypes. While Judy could be a shoe-in for women in the police force (itself commented heavily on throughout the film), Zootopia uses her height as the stereotype handicap. Likewise, there isn't really any black, Asian, or even European character necessarily. There may be parodies of The Godfather in tow, but the film is more reliant on the species to be more of a broad metaphor, using the "predators" in place of the usual suspects. With that said, there aren't as many cliche stereotypes present - save for the well known DMV portion in which a sloth slowly reacts to a joke and takes all day to process paperwork.
The film is subversive in ways that should be more noteworthy for children's film. The film solidly balances expectations with criticisms of the more negative aspects of profiling. Even if the film ventures off into silly and fun action territory quite a bit in the second act, it still culminates in a profoundly effective resolution that isn't necessarily a cop-out, but isn't the entirely happy ending that one could expect from films like this. This is Disney trying to be Pixar and in some ways matching them in terms of subtext and ambition. However, they're still the fun loving and sloppy counterpart as well, choosing to have an entire scene featuring Tommy Chong as a stoner yak who runs a nudist colony (and yes, there's "nudity" in that animals don't wear clothes - though nothing explicit is shown).
If there's one thing that's likely to irk viewers, it's the choice to poke holes in a theme that is tried and true. Yes, racism and profiling is bad. The film theoretically hits familiar beats in this regards. However, it still has a lot more to offer elsewhere. Despite having no race, the cast is diverse - featuring talents like Goodwin, Chong, Idris Elba, and Shakira as the pop sensation Gazelle. The film may take a safe route, but the choice to have a mainstream children's movie cover these themes in ways that will make a difference is a more responsible use of a studio's time than perpetuating the myths that Zootopia deconstructs. It is like The Hunger Games movies in this sense; by choosing to use their platform to encourage change through creative means.
Zootopia may not always be top tier Disney, but it is definitely a lot of fun and provides one of the better talking animal movies of 2016. With plenty of lively action and some solid writing, the film manages to be entertaining enough for kids while also provoking them to be more tolerant of others' differences. It may not be quite as immediately accessible as Wreck-It Ralph, but Disney manages to make humor that both laughs at stereotypes and finds something more important to say about them. If it's not the most socially progressive talking animal movie of the year (ball's in your court, The Secret Life of Pets), then we're looking towards a new and great trope of animals teaching us to love one another. I am totally fine with that.
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