Coyote vs. Acme Review: Beep Against The Machine

Coyote vs. Acme has some big laughs and a sharp message, though they’re blunted by an unfocused, over-extended script.

Coyote vs. Acme sees the fictional ACME Corporation brought to court by its most loyal but disgruntled customer, and the audience is cheering for the under (prairie) dog from the start. Wile E. Coyote  becomes a standard bearer for every Temu customer that doesn’t think twice. Many saw the film’s cancellation as an act of pure greed, while others interpreted it as an attempt to silence criticism of monopolies, especially in the context of the studio’s (still-pending) merger with Paramount. Whether or not that’s giving the film more credit than it deserves, its eventual release by a smaller distributor has to be seen as a win. 

Warner Bros. couldn’t have made Coyote vs. Acme more of an event if they actually opted to release it, which makes it grating to see their logo right at the start of the film, but it helps focus the mind on the film’s target. The ACME logo is prominent on the rocket boots that lead Wile E. Coyote to fall flat on his face in his umpteenth attempt to catch his prey, the Road Runner. This simple premise sustained 50-odd animated shorts in the Looney Tunes’ heyday, and the characters’ latest outing preserves this ethos.

Screenwriter Samy Burch delivered subversions aplenty in her script for May December, but Coyote vs. Acme remembers the core appeal of poor old Wile E. His fanatical zeal for the chase, repeated humiliation and lack of a speaking voice are kept in place, and every other Looney Tunes character in the film is treated the same way. Coyote vs. Acme is aware of its history and, much like the Road Runner, knows better than to steer too far off the beaten path in its characterisations.

While Wile E. Coyote and Road Runner usually exist in a generic American desert setting, they are brought into our realm of existence by Wile E.’s decision to sue the company responsible for his continued failure to catch his quarry. He travels to Albuquerque (Shoulda taken that left turn…) to meet Kevin (Will Forte), the chief partner in a law firm specialising in seeking damages on behalf of cartoon characters for defective products created by ACME.

The Looney Tunes have crossed the border into reality before, from the underrated Looney Tunes: Back In Action, to the nostalgic miasma of Space Jam (and its even more fetid sequel). Coyote vs. Acme actively critiques the crass commercialism that births the likes of Space Jam, and in doing so gives itself a greater sense of purpose and identity. It’s a refreshingly anti-corporate take from a collection of trademarked IP; many companies could do themselves a favour by learning to laugh at themselves a little bit.

Wile E., Bugs Bunny, Daffy Duck and co. integrate themselves into our world well. The animation blends effortlessly with the real elements within the frame (even if some CGI action could use more time in the render). However, the humans the Looney Tunes encounter are unable to reciprocate their efforts. Kevin brings Wile E. to his office to meet his chirpy intern Paige (Lana Condor) and a selection of underutilised underlings, but the onus is always on the cartoons to bring the chuckles.

There is some humour in seeing Wile E.’s disregard for gravity hit literal brick walls, but the novelty wears off quickly. The human characters cannot compete with the mania of their animated co-stars. Forte is a talented comedian, but the script gives him little to do beyond shocked reactions and the occasional pratfall. Meanwhile, Condor’s doe-eyed enthusiasm suggests she’s still writing to all the boys she’s loved before. Only John Cena gets to flex his comedic chops proper as ACME’s chief lawyer, gurning his way through proceedings as if to match the hot air of his boss, a strangely-villainised Foghorn Leghorn.

Criticisms of the human figures in a film driven by cartoon creatures may seem trivial, but Coyote vs. Acme’s concerns are deeply human. When the consequences of the ACME Corporation aren’t felt by the human characters to any great degree, the impact of the message is diminished. Coyote vs. Acme’s stance against the forces of rampant capitalism is principled, but it attempts to amplify this stance through a variety of extended cartoon cameos, rather than via the talented real cast that doesn’t get enough to do.

Still, that concern for the animated antagonists does mean that Wile E. Coyote has never earned more sympathy from his audience. As referenced in the film, he’s a Sisyphus whose happiness we’ve taken for granted because it’s too much effort to imagine him unhappy. Coyote vs Acme’s satire works only to a point, but its affection for a poor old prairie wolf is what keeps it memorable. Beep beep. 

Coyote vs. Acme will be released in UK & Irish cinemas, in US theaters, and globally in theatres on August 28, 2026.