Spoilers ahead for “Zootopia 2.”

“Zootopia 2” is the latest film from Walt Disney Animation Studios, a studio whose recent output I have not really cared much for. While I enjoyed the 2021 release “Encanto,” as of writing this article I have not been bothered to watch any of the three movies they released afterwards: “Strange World,” “Wish” and “Moana 2.” Judging by reviews and what I’ve heard from friends, it seems safe to say that I’m not missing out on much. With all of this in mind, I wasn’t really sure what to expect from “Zootopia 2” given Disney’s mixed track record for this past decade. It is safe to say I was decently surprised by this movie and enjoyed it quite a bit.

The movie follows Judy Hopps (Ginnifer Goodwin) and Nick Wilde (Jason Bateman) as they pursue reptile Gary De’Snake (Ke Huy Quan) across the vast city of Zootopia while uncovering a conspiracy about the city’s founding and trying to clear their names after being framed. The adventure is a fun, frenetic one that allows for many of the same enjoyable antics that I liked in the first movie. Speaking of that first movie—it’s been a while since I last watched it, but I do remember liking it for the most part. I enjoyed Judy and Nick’s natural chemistry, and I liked the movie’s efforts to make Zootopia seem like a fully-realized city truly built to meet the needs of a diverse range of animals. My only real gripe is that it felt very heavy-handed in its message about predators versus prey, trying to make a connection between the theme and the real world in a way that felt somewhat questionable at times, and wasn’t free of numerous kid’s movie cliches. Not that the sequel isn’t also heavy-handed in its themes, but the original was doing this for a premise that I felt didn’t translate as well to real-world circumstances.

This is what I think really differentiates “Zootopia 2” from its predecessor—while it’s still heavy with its themes and the message it wants to convey (which is understandable given its younger target audience), it does this with morals and lessons that feel more easily translatable to the real world. Focusing on the historical exploitation and marginalization of reptiles within Zootopia’s society allows the film to explore ideas of systemic injustice, historical erasure and scapegoating without collapsing under the weight of trying to represent every form of prejudice at once. As a result, the social commentary in the sequel feels more coherent and far less heavy-handed.

This change in approach also benefits the film’s characters. Judy and Nick’s partnership—one of the strongest aspects of the original—remains the emotional backbone of the film, and it’s one that is tested in ways that feel organic rather than forced for the sake of moving the story along. Judy’s unwavering belief in doing what is “right,” even when it puts her in danger, clashes naturally with Nick’s more cautious, survival-oriented mindset. This ideological divide drives much of the film’s conflict, and the falling-out that they have feels like a natural result of the fundamental differences between the two.

One of the greatest strengths of this movie comes from this approach. Judy and Nick don’t regress into exaggerated versions of themselves, nor does the film reset their development from the first movie. Their growth feels like the natural evolution of their characters, as though the events of the original film genuinely mattered. This can especially be seen in their chemistry and the natural conflict that arises between them. 

While I really enjoyed how the film handled its main duo, I was less enthusiastic about some of the side characters. The main gripe I have in this regard is with Gary De’Snake, voiced by Ke Huy Quan. The marketing for this movie positions Gary as a central character, and while that is certainly true to an extent, he feels underused in the story, not having as much screen time as one would expect.

While Quan brings a lot of charm and warmth to the role, I also felt as though his character was somewhat one-dimensional. Much of his dialogue amounts to “I have to help my family,” which becomes repetitive. While I did buy his bond with Judy, it still felt somewhat underdeveloped due to his absence for much of the film. Their relationship still produced some great scenes, such as when Gary called Judy his “best warm-blooded-friend”—a very nuanced line that drives home the isolation and persecution reptiles faced in the world of Zootopia—but such scenes still felt undermined by how underutilized Gary was in the story.

Ironically, several side characters with much less narrative importance ended up leaving stronger impressions. A scene-stealing beaver podcaster (Fortune Feimster) provides both comic relief and surprisingly sharp commentary, while Pawbert Lynxley (Andy Samberg) adds a chaotic energy that the film uses sparingly and effectively. These characters are fun and memorable—especially with how Pawbert turns out to be the best Disney twist villain in a good while—but their prominence further highlights how underutilized Gary feels by comparison.

That said, this movie largely avoids one of the most common pitfalls of animated sequels: excessive nostalgia. Familiar faces from the first movie like Flash the Sloth, Gazelle and Chief Bogo return, but their appearances feel purposeful rather than obligatory. Also benefiting the movie is a pretty sharp sense of humor; not all the jokes land, but I was still amused by many of them. Notable references are to be found throughout the film as well, ranging from a great “Ratatouille” reference to a solid jab at the Disney live-action remakes.

Overall, in the context of Walt Disney Animation Studios’ recent output, “Zootopia 2” stands out to me as a genuinely good movie. Admittedly, I may not be the best judge here given I haven’t checked out their most recent work aside from this film. Even so, while I don’t think this movie is the kind of masterpiece that will usher in a new era for the studio, it does show that this studio is still capable of making thoughtful, engaging movies that can be enjoyed by all. For a studio that many would agree has struggled to regain its footing throughout the 2020s, that alone feels like a small but meaningful victory.