It only makes sense that the idea of putting a Wile E. Coyote movie into theaters would require the most elaborate series of events possible, and even then, one still can’t guarantee certain results. Coyote vs. Acme is a sincere comedy blending live-action and animation that found itself living through a situation with many thematic similarities to reality. Despite a dynamite premise and solid execution, the film was forced to sit on the sidelines for a couple of years longer than expected. Fortunately, between fan outcry and another studio’s efforts to acquire distribution rights, the film has been saved. Whether this becomes a bigger win for the arts and cinema in general, we’ll have to wait and see. But for now, at the very least, the Tunes can finally get past the dismissive hand of big corporations and see the light of day once again.
As a story focused on Wile E. Coyote, a quick reminder of his many failures sets the tone. For decades, Coyote has purchased Acme products to catch the Roadrunner, only for them to backfire in some weird way. After the latest ploy-gone-wrong, the Coyote sees an ad for a lawyer, Kevin Avery (Will Forte), whose firm specializes in injuries from faulty products by big corporations. Inspired, the Coyote tracks down the firm, and eventually has them file a class action lawsuit against the Acme Corporation. Given the severity, Acme decides to put all its best people on the case, including Buddy Crane (John Cena), the company’s high-powered lawyer. Will this “David and Goliath” style case lead to a positive outcome for the desperate and very hungry Coyote?
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This is such a fun idea for a Looney Tunes movie. Taking Acme to court for faulty products is the sort of comedic premise that works as a sketch idea, sure, but director Dave Green and writers Samy Burch, James Gunn, and Jeremy Slater went all out to figure out an ideal way to make this into an ensemble feature. There are plenty of fun character roles, great setups for comedic bits, an intriguing conspiracy plot, and an overall storyline that inadvertently became quite relevant, given big business practices. Best of all, it works well for all generations.
Whether or not there’s a question of just how relevant the Looney Tunes remain without a recurring series of new cartoons, they do seem to have a recognizable identity for nearly anyone. Allowing a film like this to function as a legal thriller adds to the sort of absurdity expected from the Tunes. Yet, it also grounds the film in a scenario that is an easy source of cinematic tension. On top of that, a variety of great performers with different comedic strengths and appeals to various groups really helps anchor this film in an environment of features that people want to see. Perhaps it’s because there’s only so many ways to expand on the narrative without giving too much away that it seems like this is more of a plea to get people out to theaters for a wacky ride like this one.
That said, this feature has highlights, but one of its strongest assets is its visual style and use of effects to seamlessly blend these worlds. Many films revolve around humans and their interactions with computer-generated characters. Still, for a film that almost feels like it was destined to serve as the spiritual successor to 1988’s Who Framed Roger Rabbit, this really is a terrific feat in combining worlds without ever feeling like a wall is being broken to justify it. Things are as they are, from an opening chase scene involving an animated Peter Lorre (yes!) to the simplicity of these animated characters interacting with our main group in an Albuquerque law office.
Also impressive is the clear love for cinema and animated history. Yes, focusing on Coyote means placing so much of the film inside the logic of one of his own cartoons (lots of bombs and rocket skates in this movie). However, we still get plenty of Looney Tunes cameos, along with clever takes on classic films that circle around underdog stories, washed-up lawyers, and evil wealthy businessmen. It’s enough to feed the hope that other young filmmakers can find intriguing ways to shake up the status quo when it comes to revamping the same old characters simply because they can. There is potential money to be made.
There’s nothing cynical about what Coyote vs. Acme has to offer. Sure, it can now also be seen as a symbol of triumph, which could have backfired if the film had disappointed in some way. However, it instead succeeds in delivering on a clever story, capitalizing on its visually ambitious approach, and giving all a chance to appreciate the work going into a project so clearly made by passionate individuals, regardless of what its initial parent company felt it could gain by claiming a tax loss as opposed to letting art see the light of day. The movie being as good as this premise suggested it could be certainly helps, but here’s to hoping audiences also put their wallets where their mouths are and celebrate this release. Were that to be the case, when a threat like this may come along again, well, that won’t be all folks.
Coyote vs. Acme opens in theaters on August 28, 2026.
