Coyote vs. Acme Review: A Revived Comedy That Excels

      An attempted burial might have turned out to be the best thing for *Coyote vs. Acme*. This live-action/Looney Tunes hybrid was initially set to debut on HBO Max in 2023 but was pulled into obscurity by Warner Bros. Discovery as part of tax write-offs. For some time, it seemed it would be forgotten, surviving only as leaked images, clips of Will Forte falling into a pool, and recordings of a “Meep Meep” chorus.

      Fortunately, it was unexpectedly rescued by Ketchup Entertainment, a small distributor that, prior to releasing the shelved *The Day the Earth Blew Up: A Looney Tunes Movie*, was primarily known for anonymous action films and Michel Franco’s *Memory*. All the behind-the-scenes turmoil threatened to overshadow the film, which has had ample time to build anticipation among viewers curious about the premise of Wile E. Coyote suing the Acme Corporation. You need not be concerned: *Coyote vs. Acme* delivers everything one could hope for from such a concept, possessing just enough satirical and philosophical depth to engage adults while entertaining children with minimal juvenile humor. Watching it makes you question why Warner Bros. didn’t originally release it in theaters.

      The first indication that the film is in capable hands appears right at the beginning. One of the earliest character introductions features none other than Peter Lorre, who in this context is depicted as a scientist for the Acme Corporation (distinct from the grocery store) evading security with an array of wicked devices like Expanding Boulders and Large Magnets. The second signal of quality is the law firm representing the central court case: Avery, Jones, and Maltese. This clever naming scheme could only come from a creative team that holds deep respect not only for Looney Tunes but also for the art of animation itself.

      An advertisement for this law firm sets Wile E. on his legal journey after a montage of Acme products failing spectacularly during his attempts to catch the elusive Roadrunner. His lawyer is Kevin Avery, played by Will Forte, who is doing better than Jimmy McGill only in that he refrains from committing crimes. In actuality, he’s reluctant to do much of anything; his “big lesson” for his niece and intern, Paige, is to avoid trying, as the legal world will wear her down just like it did him. Unfortunately for Kevin, Acme’s lead attorney, Buddy Crane (John Cena), vows to defeat them when Wile E. declines a modest settlement. This escalates the situation to trial, setting up a mix of legal comedy and thriller (with a staggering volume of documents to review!). Forte effectively portrays the straight man, while Cena complements him perfectly as a larger-than-life antagonist. The cast is rounded out by Lana Condor as Avery’s spirited niece, who remains unjaded by the system.

      Director Dave Green maintains a steady rhythm, incorporating the right amount of background gags to surprise viewers without making the humorous antics feel overwhelming. His fusion of CGI with live-action is mostly successful. The “Toons” feature a cel-shaded aesthetic that extends to the objects they engage with, such as folders or motorcycles. Although the transitions aren’t consistently flawless—such as the introduction of Foghorn Leghorn, which creates a jarring disparity between the 2D styling and 3D forms—when it works, it truly shines. Often, the most amusing moments last merely a brief instant, with my personal favorite being a witch who asks “you good?” before flying away with a laugh. Screenwriter Samy Burch (May December, Late Fame) and Green play with animation tropes and physics both in the dialogue and visuals, prioritizing the logic of an improv scenario over concerns of “world-building” or “reality.”

      The last thing I anticipated was for this film to be surprisingly poignant, yet it earns that label by the conclusion. It is not a forced attempt at sentimentality but rather a crystallization of the core question driving the movie and Wile E. himself. Cartoons are inherently absurd, and the Coyote leads an absurd life, much like we did in 2023 and even more so now. This theme aligns neatly with how the legal system can feel akin to pushing a boulder uphill, enhancing the narrative without overpowering it. It may not be groundbreaking, but *Coyote vs. Acme* serves as a reminder of why we appreciate the Looney Tunes, as well as an homage to “The Daily Fight.” Above all, it’s solid family entertainment reminiscent of a bygone era—an invigorating change amidst a sea of mediocrity. One can only hope to witness a coyote chasing a bird off a cliff again sooner rather than later.

      *Coyote vs. Acme* releases on August 28.