Ketchup Entertainment

Coyote vs. Acme (2026): Don’t Walk, Roadrun.

Posted on by Jack Drees

“Coyote vs. Acme” is directed by Dave Green (Earth to Echo, Teenage Mutant Ninja Turtles: Out of the Shadows) and stars Will Forte (Scoob!, Saturday Night Live), Lana Condor (Ruby Gillman, Teenage Kraken, X-Men: Apocalypse), Tone Bell (Whitney, Little), Luis Guzmán (The Limey, Traffic), Martha Kelly (Euphoria, Baskets), P.J. Byrne (The Wolf of Wall Street, The Legend of Korra), Eric Bauza (Looney Tunes Cartoons, Buddy), Kenneth Choi (The People v. O.J. Simpson: American Crime Story, The Last Man on Earth), and John Cena (Blockers, The Suicide Squad). After many attempts of trying to catch the Roadrunner to no success, Wile E. Coyote has one thing to blame, Acme. Now fed up with the company’s defective products, Coyote decides to sue Acme for each of their products that kept him from catching the iconic blue bird. But winning the case will not be easy as Acme is a dominate corporate force, and Coyote teams up with a lawyer known for settling every case that comes his way.

I am not the biggest “Looney Tunes” guy. I did not grow up watching the property. Heck, even as someone who was born in the late 90s, I did not even watch the original “Space Jam” until I was 21. By the way, the movie is awful. Seriously… What was that? But even I was stoked for “Coyote vs. Acme.”

Even as a novice to the “Looney Tunes” brand, I am well aware, and sometimes amused, by the constant charade of Wile E. Coyote trying to catch the Roadrunner. Never in my life did I think we would ever get a movie where Coyote takes the company who makes his contraptions and gadgets to court. But as soon as I heard the pitch, I was all eyes and ears. This was a brilliant premise, and I really wanted to see it come to life. But Warner Bros. Discovery decided to go full Adam Conover and ruin everything.

Following in the footsteps of “Batgirl,” “Coyote vs. Acme” was fated to become Warner Bros. Discovery’s latest tax write-off. The film, while well-liked by people who worked on it as well as others outside the production, was not seen as a moneymaker to Warner Brothers Discovery, in addition to any potential buyers. Except for one. And that is Ketchup Entertainment, who also released another recent “Looney Tunes” project, “The Day the Earth Blew Up.” I did not see that one, but I was eager to check out this one.

I have now seen “Coyote vs. Acme,” and it is not just good. It is actually great. No… I take that back. This is one of the best films of the year.

This film, much like “Who Framed Roger Rabbit?”, is set in a world where people and cartoons co-exist. The Acme Corporation is a real company run by actual people, making animated products for cartoons like Coyote. We see that Coyote has had it. He has spent his whole life trying to catch the Roadrunner. He’s gotta eat! So, he gets an idea to sue Acme for each one of their products he got his hands on. None of them worked, and he wants to hit them where it hurts. So, he teams up with a lawyer named Kevin Avery (Forte) to get the job done. However, we find out that these two are opposites. Avery, and by extension, his firm, is known for settling. In fact, the firm has been involved in multiple cases against Acme and there has been a settlement for each one.

You have two core characters, each of whom want to get things done their own way. Coyote and Kevin make for an incredible odd duo. I was pleasantly surprised with not just how well Forte wound up doing in this film as a live-action performer blending in with cartoons, but the same can be said for how I felt about Coyote as a character.

The concept of watching Coyote trying to catch the Roadrunner by itself is fun on paper, but let’s be real. His goal is to end this bird’s life. He is kind of a fascinating character, because despite this movie being made for families, it centers around someone who is so dedicated to killing a bird that you cannot help but appreciate him. It is kind of like watching Mauser from “Marty Supreme,” who is a bit of a moron, but he has this drive that as I watched the film, I could not help but appreciate it. The film is, ironically, fantastic for younger people to watch. Because despite being about someone whose goal is to kill a bird, it also serves as a fine lesson for younger viewers to chase their dreams.

This lesson plays heavily not just into Coyote’s personal motivation, but also the relationship between him and Kevin. Coyote’s drive ends up inspiring Kevin to not just challenge himself to perhaps become a better lawyer, but it seems to instill him with a reason to keep on living.

As the film progresses, it becomes one of the most surprisingly heartfelt features I have seen in a long time. Heartfelt and “Looney Tunes” are two concepts that I did not think I would use in the same sentence, but here we are. I was almost convinced that I was watching a Pixar movie or something from Lord and Miller. A perfect execution of comedic gags that also manages to interweave moments that pull your heartstrings. I nearly cried at the end of this movie. When this movie nearly got scrapped for a tax write-off, I knew I wanted to see it. I did not know that it would be this compelling, this exciting, this moving.

The ending of this film is so satisfying. It is, in a way, a predictable ending, but it manages to pack in an element or two of unpredictability to get there. Regardless, the ending feels earned. It puts the film’s characters in a position that makes sense and overall, the final moments emit oodles of joy. This is a movie about underdogs, and it is perhaps only enhanced by the fact that getting the film to the big screen was a bit of an underdog story by itself.

Speaking of all the behind the scenes drama, one of my favorite things we see, not even in the film itself, but just before it starts, is the WB logo. This is a completely baseless assumption, but there is a subtitle in the opening logo that part of me wants to believe was put in as a response to the whole tax-write off saga. Moments into the title, we zoom in and we see a caption that reads “A wholly owned subsidiary of the Acme Corporation.” On one hand, it is kind of funny because it plays into the joke of Acme’s corporate dominance. But the joke may also have a double meaning. Much like how Acme is the villain of the movie, some people who wanted to see this film succeed saw Warner Bros. as a real life villain that kept this project from seeing the light of day.

…Or I could be overthinking this and the logo was designed before the tax-write off shenanigans even became a thing. I have to keep all possibilities open to avoid making a fool of myself.

Arguably the most notable physical standout in the film is John Cena, and not just from a looks perspective. He plays Buddy Crane, who is not only a lawyer for Acme, but just so happened to be Kevin’s rival while the two attended Harvard. Despite sometimes playing Crane up as this tough guy, and he is, he also manages to sometimes deliver a kind, calm aura. There is a balance to this character that Cena masters as a performer. Cena has proven in previous roles that he has a knack for comedy, and while this may not be his funniest role, he continues to prove that he has a fine presence on screen.

The movie also comes with plenty of fan service and fun Easter eggs. Sure, you have some classic footage and phrases that even casuals would recognize, but there are sometimes some nice small touches. There is a scene set in the middle of the film set to the DJ Shadow song “Nobody Speak,” which is a good song by itself, but the film adds a slight enhancement to the song and replaces a couple notes with the Roadrunner’s “meep meep.” I almost burst out laughing, but I wanted to avoid embarrassing myself in front of other people.

The film does come with some minor issues. For the most part, the blending of live-action with the animated elements works fantastically. It is actually kind of incredible how seamless everything is. But not all of it is consistent. Not everyone seems to be drawn in the same style. I do not have a problem with this as “Who Framed Roger Rabbit?” implements multiple styles, but I thought “Roger Rabbit” did a better job at blending those styles together than “Coyote.” While he is by no means an eyesore, the design for Foghorn Leghorn sometimes looks a little tacky when put next to live-action characters. He is not awful looking, but it is also true at the same time that he looks like a character during the main sequence of “The Simpsons Ride” at Universal Studios.

Even with some tiny issues, this film is not just a blast, it is a triumph. This is perhaps the greatest middle finger to corporate giants encapsulated via film since “WALL-E.” In fact, by happy accident, the film feels like it is throwing an extra middle finger to a real life corporate behemoth at the same time. I say this as someone who loves Warner Brothers as a studio. I am a massive fan of their movies. In fact, “Sinners” and “One Battle After Another” were two of my favorite films from last year. But they made a mistake by nearly axing this film. What one corporation sees as trash, is the audience’s treasure. Please go buy a ticket to this movie, because not only are you supporting a spectacular project, but you will be sending a message to the people who almost kept you from seeing it in the first place.

In the end, while I do not think “Coyote vs. Acme” is not going to get a Best Picture nomination from the Academy, it is one of those movies that you have to see at least once. This is a one-of-a-kind project that wound up being more than a pleasant surprise for me. I genuinely do not know when I am going to stop thinking about it. This film nearly broke me. It presents two completely admirable heroes who not only have fascinating goals, but make a great team. You do not have to be a “Looney Tunes” diehard to enjoy this film, and given the little history I have with this franchise, I am proof of that. Please go see this movie. It will make you laugh and cry. I am going to give “Coyote vs. Acme” a 9/10.

“Coyote vs. Acme” is now playing in theaters. Tickets are available now.

Thanks for reading this review! As a reminder, in honor of Scene Before’s 10th anniversary, I am working on a special video series, Movie Requests, which sees me reviewing movies suggested by celebrity guests. My latest episode features actress Melissa Barrera, who you may know from films like “Abigail” and “In the Heights.” In this episode, she suggests I should watch “Roma!” What did I think? Click the video above to find out! If you enjoy the video, please leave a like, subscribe to my YouTube channel, and hit the notification bell that way you can see more episodes as soon as possible!

My next review is going to be for “Idiots.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Don’t Move” and “The Uprising.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, be sure to check out the official Facebook page! I want to know, did you see “Coyote vs. Acme?” What did you think about it? Or, what is a movie that you wish you got to see that has never been released? For me, the answer is Sam Raimi’s “Spider-Man 4.” I remember that it was supposed to come out in the early 2010s, but it got scrapped in favor of “The Amazing Spider-Man.” No offense to Andrew Garfield, but I would give anything for another solo Tobey Maguire movie. Scene Before is your click to the flicks!

Ferrari (2023): Adam Driver Shines in a Flick That Cannot Quite Get Into Gear

Posted on by Jack Drees

“Ferrari” is directed by Michael Mann (The Last of the Mohicans, Heat) and stars Adam Driver (Star Wars: The Force Awakens, Marriage Story), Penélope Cruz (Pirates of the Caribbean: On Stranger Tides, Nine), Shailene Woodley (Divergent, Dumb Money), Sarah Gadon (Enemy, Dracula Untold), Gabriel Leone (Dom, Hidden Truths), Jack O’Connell (Skins, Godless), and Patrick Dempsey (Enchanted, Grey’s Anatomy). This film is a biopic about Enzo Ferrari’s mission to keep his auto company from failing as he puts it in a treacherous territory. A thousand mile race in Italy.

Sport movies have not always been my forte. Then again, sports in general have not always been my forte. But if you guys have been following me for a bit then you’d know that one of my favorite sport films I reviewed on this blog, not to mention one of my favorite sport films that come to mind, is James Mangold’s “Ford v Ferrari.” That film is an adrenaline-fueled race to the finish if there ever was one. And that is cemented by great performances, stunning soundwork, and a narrative that had me on the edge of my seat. It was easily one of the best films of that year and it ended up scoring a couple Jack Awards as well.

But with another awards season on the rise, it is time to recognize one of its fiercest contenders, “Ferrari.” I had little interest in “Ferrari” until I saw the trailer. This looked like a hard-hitting story that would fire on all cylinders and deliver on drama and tension. Adam Driver looked like he was going to dominate the lead role and I was there. That said, I did not know when I would end up seeing it because it comes out in December and there are so many things to which in the span of that time. Plus I have to get my best and worst movies of the year lists out the following month, I am doing work on the next Jack Awards, and it is heavily triggering my average at best multitasking skills. But I had the privilege of checking out a free early screening in Dolby in Boston recently, so I got to see the film long before it hits theaters.

Now, there is a certain thrill that comes with getting to see a movie this early. And the fact that the studio is letting people watch it this long before the release date says a lot about their faith in the project. Having seen “Ferrari,” I am sure it will hit a lot of people the right way. But it doesn’t mean that was the case for yours truly.

“Ferrari” is by no means an awful movie, but if we were to make a comparison, I would easily recommend “Ford v Ferrari” over this new Michael Mann effort. That said, I do not think Michael Mann would be completely insulted with this sentiment. After all, in addition to his efforts here, he is an executive producer on “Ford v Ferrari.” He gets to brag about having both movies on his resume.

My biggest problem with “Ferrari” is the characters. I did not outright hate anyone on this film’s roster, but much of the film involves a series of racers participating in the 1957 Mille Miglia. Ultimately, we end up spending a good amount of time with them, so it disappoints me to say that I failed to find myself attached to any one of them. I know this movie is not called “The Drivers of the Mille Miglia” but when the movie features them as prominently as it does, I hope to find myself endlessly attached to at least one driver. Much of the film is about Enzo Ferrari, and some of it lends itself to fascinating storytelling, whereas other moments tend to fall by the wayside.

That said, even with the character flaws in mind, I will not deny that the film puts the pedal to the metal and brings forth some of the best acting I have seen in a movie this year. Of course the film has recognizable stars like Shailene Woodley, Penelope Cruz, and Patrick Dempsey, all of whom are really good. But the film, to my lack of surprise, is as good as it is because Adam Driver gives it his all in the lead role. I could honestly see him getting an Oscar nomination this year for his efforts. Of Driver’s resume, this performance is one of his more chameleon-esque efforts. And a lot of it not only has to do with his mannerisms, his voice, his presence, part of it has to do with the attention to detail given to him on his costuming and makeup. Much like some of my other favorite actors, Driver has always oozed charisma on screen, even when he is in an inferior “Star Wars” movie. But of Driver’s roles, this is one of the first I remember seeing where he does not completely look like himself. I’ve seen him in a number of films. “Lincoln,” “The Man Who Killed Don Quixote,” “Marriage Story,” “The Last Duel.” He has often maintained a certain look to him that I tend to notice from one role to the next. Even in his better performances, I am reminded of how much I enjoy Driver’s presence once I see his recognizable face. In this film, I don’t necessarily see Driver. I see someone else.

When it comes to the film, Adam Driver is quite literally the driving force in more ways than one. He is really good in the lead role and he is surrounded by competent performances all around. But the story itself failed to garner any ongoing emotion and interest from me. There was a center of the movie per se, but not so much a core. Despite those words being similar, I think there is a difference here. The movie centers around Enzo Ferrari, but it does not give me a core reason to admire anyone on screen. Or at least not one that remained on my mind long after leaving my screening.

Much like “Ford v Ferrari,” the sound in “Ferrari” is quite good. Not as good if you ask me, but it appears to take a different approach. The way I interpreted the sound between its editing and mixing in “Ford v Ferrari” is something equivalent to a fantasy. The movie is based on true events, but when I heard that sound, it almost came off like a hyperactive reality. The sound, not to mention atmosphere, of “Ferrari” feels comparatively grounded. Of course the cars sound audible as anything, but they lack a certain oomph to them that “Ford v Ferrari” gave in its final product. That is not to say they sound bad, it is just different.

In the end, “Ferrari” is two different movies wrapped into one. But neither of them exactly surpass the distinction of average. If anything, “Ferrari” is a painfully average, not to mention disappointing time. Because while I did not do a deep dive into the film’s marketing campaign before going to see it, I can you tell you the trailers are on another level. The trailers are honestly much better than the movie. It’s kind of sad, really. Much “Killers of the Flower Moon,” I will not doubt “Ferrari” will get some attention this awards season. But much like “Killers of the Flower Moon,” “Ferrari” might not be my cup of tea. There are plenty of good things in it, but I honestly find the movie quite forgettable and ultimately lacking in any reason for me to watch it a second time. Maybe I could give it a second chance eventually because some positives stand out, but for now, I am going to give “Ferrari” a high 5/10.

“Ferrari” arrives in theaters everywhere December 25th. Tickets are available now.

Thanks for reading this review! I have plenty more reviews coming in the near future as the year comes to an end! I will be sharing my thoughts on “The Boy and the Heron,” “Dream Scenario,” “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Ferrari?” What did you think about it? Or, what is your favorite movie with Adam Driver in it? Let me know down below! Scene Before is your click to the flicks!

Hypnotic (2023): Ben Affleck Leads a Rather Forgettable, Inception-Like Sci-fi Thriller

Posted on by Jack Drees

“Hypnotic” is directed by Robert Rodriguez (Alita: Battle Angel, Desperado) and stars Ben Affleck (Air, Argo), Alice Braga (City of God, Lower City), J.D. Pardo (F9: The Fast Saga, Mayans: M.C.), Hala Finley (Man with a Plan, We Can be Heroes), Dayo Okeniyi (The Hunger Games, Terminator Genisys), Jeff Fahey (The Marshal, Lost), Jackie Earle Haley (Little Children, The Bad News Bears), and William Fichtner (Prison Break, Mom). This film is about a detective who investigates a cause behind why his daughter had been abducted.

As someone who lives near Boston, I feel like going to a Ben Affleck film, whether he is in front of or behind the camera, is like going to a Red Sox game. It is not always the first thing that comes to mind, but I end up rooting for him upon entering the venue because of my roots. I do not follow sports, but I am someone who is well aware of the Red Sox’s poor season. The quality of their recent record is a far cry from Affleck’s, who is hot right now because of his heavy involvement with “Air,” which stands as one of my favorite scripts of the year. Despite such praise, going to “Hypnotic” encapsulates the feeling of going to a Red Sox game and having a knowledge of their below par record. This film appears to have been barely marketed, but I did catch some of it as it was advertised on Pluto TV numerous times.

The concept of the film intrigues me, especially as someone who enjoys high concept science fiction. As for the execution, that leaves a bit to be desired.

I am willing to bet to that if you talked to me in a year from now, I almost would not remember a single thing about this movie. All I could tell you about it is that Ben Affleck is in it, it looks trippy, and that is it. This is easily one of the most forgettable science fiction films I have ever seen. It is by no means an offensively bad movie, but when it comes to flair or overall enjoyability, this movie lacks both those things. There seems to be a good movie in “Hypnotic” somewhere, but I could not find it. Robert Rodriguez is not a terrible filmmaker. In fact, I very much enjoyed his recent blockbuster “Alita: Battle Angel,” which I contend is one of the greatest visual spectacles of the past five years. “Hypnotic” is a far cry from “Alita.”

Much like “Alita,” “Hypnotic” is easy on the eyes, but one thing I enjoyed about “Alita” that this film managed to do less effectively, is make me feel like I was not in my own world. Granted, “Hypnotic” is much more based in reality, with some twists of course.

The main thing driving this story and its plot is mind control, we see various characters use mind control to move things along. I think some of the ways this is utilized happen to make for clever moments. While this movie may lack the oomph that many others in its genre possess, there are inklings of goodness at times.

In addition to the sick visual effects that make the film as eye-popping as it is, my eyes were also occasionally wowed with some of the film’s shots and framing. It does not reinvent the wheel, but there are a select few shots where the framing choices make the visual effects that much more… hypnotic.

If I had to make a comparison, “Hypnotic” feels like “Inception” with a pinch of “Blade Runner.” The film has a lot to do with the mind, albeit not so much about dreams. But the main character of Danny Rourke almost feels like a Rick Deckard type. After all, while the films explore this idea in different manners, both reminisce over a particular happening in their mind that stands out during the film. For Deckard, it is as simple as a unicorn. For Rourke, it is a bit more complex because much of the movie is about his connection to his daughter. Whether they’re real or artificial, these memories drive the characters throughout the film. In fact, there are a couple other “Inception” comparisons that can be addressed. There are some trippy visuals. The color grading looks similar. The protagonist’s offspring happens to be a driving force of the film. If anything, “Hypnotic” reminded me of the 2021 film “Reminiscence,” because that was another film that gave me “Inception” or Christopher Nolan vibes throughout, even though he never had a hand in the film. Although sibling Jonathan Nolan produced it, and his wife, Lisa Joy, directed it.

And much like “Reminiscence,” “Hypnotic” is a concept that works on paper, but they could not figure out how to translate it to the frame. I think there are inklings of lore that work. There are certain action sequences that play out well. The actors seem to barely go above the degree of sleepwalking throughout the picture. I am willing to bet that the only factor behind me potentially liking this movie is if someone mind controlled me into doing so. Because right now, I am not bagging what this movie is raking.

“Hypnotic” is exactly as the title suggests, hypnotic. But not in the way Robert Rodriguez and crew would want the viewer to think. Because while there may not have been an object shaking back and forth, my brain kept reminding me that I must have been getting very sleepy. I did not fall asleep during this movie. In fact, throughout my years of moviegoing, I have yet to fall asleep to a movie in the theater. But I have a feeling that if I watched this film on a late night at home, there is a good chance that I would have paused the movie halfway through and have to pick up the rest of it the next day. It is not a chore to watch, but it is a chore to fully digest and appreciate. If you want a good Ben Affleck project to watch from this year, go watch “Air.” Heck, I have not seen “The Flash” yet, which Ben Affleck is also in, but I am going to assume that it is better than this.

In the end, “Hypnotic” is one of Ben Affleck’s inferior outings in his career and a less than stellar day at the office for Robert Rodriguez. Would I watch “Hypnotic” again? I do not know at this point. Part of me wants to give it another shot to see if I could appreciate it more. There are things I liked in it, but the movie still kind of rubbed me the wrong way the more I think about it. The idea is great, the unveiling of it is not. I am going to give “Hypnotic” a 4/10.

“Hypnotic” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! Pretty soon I will be sharing my reviews for “The Machine,” “The Blackening,” “Transformers: Rise of the Beasts,” and “The Flash.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Hypnotic?” What did you think about it? Or, what is a movie you saw that is still on your mind, but have seemed to mostly forgotten about after it finished? Let me know down below! Scene Before is your click to the flicks!