Coyote vs. Acme

Coyote vs. Acme

Posted on August 26, 2026 at 11:50 am

B +
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for cartoon violence and some language
Profanity: Some schoolyard language and potty humor
Alcohol/ Drugs: None
Violence/ Scariness: Cartoon "violence" -- explicitly, no one hurt
Diversity Issues: Diverse characters
Date Released to Theaters: August 27, 2026
Copyright 2026 Ketchup

“Coyote vs. Acme” like its title character, has proved to be unstoppable. This delightful tribute to the madcap and enduringly popular world of Looney Tunes was originally conceived as a humorous New Yorker essay by Ian Frazier in 1990. Frazier was a fan of the publication “American Lawyer” and decided to compose a legal complaint filed on behalf of Coyote against the company that was a serial offender in the categories of safety and effectiveness of consumer products. “Mr. Coyote states that on eighty-five separate occasions he has purchased of the Acme Company (hereinafter, “Defendant”), through that company’s mail-order department, certain products which did cause him bodily injury due to defects in manufacture or improper cautionary labelling.” 

It was optioned for a movie but nothing happened for more than 30 years, when it was filmed by the studio behind the Looney Tunes cartoons, Warner Brothers.

And then Warner CEO David Zaslav did to the movie what Acme’s products did to Coyote: he blew it up, deciding it was better for the balance sheet as a tax write-off than as a theatrical release. Outraged fans protested. The film was picked up for distribution by plucky newcomer Ketchup Entertainment, later joined by Legion M.*

The movie is enormous fun, with deep understanding and affection for Looney Tunes, its characters and its absurd exploration of the eternal struggles of existence. Fudd will never shoot Bugs. Sylvester will never catch Tweety. And perhaps the saga of Coyote and Road Runner is the most existential, stripped down with no dialogue and always set in the spare southwestern desert.

Chuck Jones’ rules for Wile E. Coyote and Road Runner are legendary and deceptively simple. Coyote could stop any time, but he is, in today’s terms, obssessed with the Road Runner he will never catch. His failures are always the result of his own efforts, even hubris. Road Runner does nothing but run on the road and say “Beep Beep.” He never tries to outsmart Coyote or harm him in any way, as, for example, Bugs Bunny does to would-be hunter Elmer Fudd. Coyote is failed every time by the company that provides all of his equipment, Acme. The super-magnet. The parachute. The rocket-powered roller skates. Every time, they fail in spectacular fashion, often leaving Coyote falling off a cliff. Sometimes he is briefly suspended in the air before realizing that once again he is about to plummet. We stay at cliff level while he falls until we witness a puff of dust far, far below.

Coyote hires a personal injury law firm headed by Kevin Avery (“SNL” alum Will Forte). Note that the lawyers’ last names are all inspired by Looney Tunes animators. Avery’s specialty is defective products from Acme, and he settles all cases quickly for a few hundred dollars. When a clerk mistakenly files suit for hundreds of purchases instead of just the rocket roller skates, it escalates to the attention of Acme general counsel Buddy Crane (John Cena) and CEO Foghorn Leghorn (Eric Bauza, who, like his predecessor Mel Blanc, provides almost all of the voices). This threat to the company must be extinguished.

A lot of the classic Looney Tunes characters show up, and I won’t spoil which one is called as a witness to discuss Acme’s secret “Project Sisyphus,” the name a sly reference to Coyote’s perpetual inability to achieve his only objective. The integration of the cartoon and real-life characters and environments is seamless, truly impressive. The human characters are bland and underwritten compared to the cartoon characters (Lana Condor and Tone Bell are sadly wasted) and the film would benefit from being a little shorter. But it is colorful and often hilarious and its satire about the state of capitalism is just the kind of insoucient, make-fun-of-the-hand-that-feeds-you humor that the denizens of Termite Terrace specialized in. Jones, Friz Freleng, Bob Clampett, Tex Avery, Frank Tashlin and others would love this and be very glad that we never have to say, “That’s All, Folks!” to the antics of Looney Tunes.

*I have a small investment in Legion M, along with tens of thousands of other movie fans.

Parents should know that this movie has a lot of cartoon violence, but, as discussed in the film, all the cartoon immediately bounce back from whatever happens to them. There is some schoolyard language and brief potty humor.

Family discussion: Why did law school classmates Kevin and Buddy have such different careers? What do you think about Foghorn Leghorn’s explanation for Project Sisyphus? How should products be tested? Which is your favorite Looney Tunes character and why?

If you like this, try: “Who Framed Roger Rabbit?” and of course the Looney Tunes cartoons

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The Deb

The Deb

Posted on August 24, 2026 at 5:56 pm

B
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Not rated
Profanity: Extremely strong and crude language
Alcohol/ Drugs: Smoking, teen drinking
Violence/ Scariness: Some scuffles, no one badly hurt
Diversity Issues: None
Date Released to Theaters: August 25, 2026
The Deb
Copyright Vertigo Releasing 2026

Rebel Wilson’s “Pitch Perfect” experience and love of classic Hollywood shows in her first film as director, “The Deb,” with vibrant, ebullient musical numbers featuring an outstanding cast of young performers. It was released in Wilson’s home country of Australia in 2024 but is just now coming to the US on demand.

The basic plot is a classic city mouse and country mouse with one teenage cousin expelled from a posh private school in Sydney and sent to live with her rancher uncle and cousin in a remote rural community. On the surface it is brash and raunchy — the opening musical number with girls in plaid skirt and navy blazer school uniforms is a song about much they suffer from rich girl problems, with the repeated phrase often abbreviated as “FML.” But it is also heartwarming and refreshingly shrewd about cancel culture and teenage identity struggles. While the characters are exaggerated for comic purposes, the film is sympathetic to everyone.

The city cousin is Maeve (Charlotte MacInnes) and we are introduced to her via her podcast, where she disingenuously pretends that showing herself in a tiny bikini is fighting the patriarchy. It is clear that spouting aphorisms about heteronormativity and claiming to be the feminist voice of her generation are just click-bait expressions of teenage angst. As the school principal, who is also her mother, tells her, “You are not Malala. You don’t want change; you want attention.”

After Maeve rips open her shirt to flash the entire school she is sent to a rural community called Dunburn. She is picked up at the bus stop by her cousin Taylah (Natalie Abbott), via riding mower. Maeve’s uncle is Rick (Shane Jacobson), a widower who loves his daughter but relies on her to do farm chores and considers ramen a suitable dinner. Rick is also Dunburn’s mayor, which mostly means applying to the government for relief after a three-year drought that threatens the town’s economic viability.

The town’s most beloved tradition is The Deb, a throwback coming-out (to society, not out of a closet) gala where the girls wear poofy white dresses and are presented via a giant plaster clamshell. Taylah is looking forward to it. Maeve sees it as a juicy topic for a disdainful podcast about an “antiquated heteronormative s***show from hell…uniquely preserved from rural isolation.”

Wilson plays Janette, the owner of a beauty salon called Curl Up N Dye and the mother of Annabelle (Stevie Jean), leader of the trio of Dunburn mean girls, who perform as the Pixie Cups. Janette is grooming Annabelle to be a pop star and Wilson plays her as over-the-top outrageous, including insulting and being cruelly dismissive to her other daughter, who “identifies as a koala.”

Thankfully, the traditional makeover scene is subverted, everyone grows up a little (stay past the beginning of the credits for some reassurance along those lines) and Maeve’s savvy about creating viral content is used for good. What works best in the film are those musical numbers, with a lot of variety from pop to country to hip-hip. The stand-out a duet ballad with Maeve and Taylah singing separately about the impact of a spotlight, brought back later in a reprise. The screenplay is credited to Hannah Reilly, who wrote the play it is based on, with “additional writing by Rebel Wilson,” and it is pretty easy to figure out what Wilson added, mostly for her own character. This makes for some unevenness of tone that makes less accessible for the likely audience most interested in a story of young women trying to establish their identity and direction in a world that has a lot of unrealistic expectations.

Parents should know that this movie has extremely crude humor and very strong language. A character is persuaded by a boy to let him take a picture of her with her shirt off, which he shows off to other boys. There is some teen kissing and a teen who comes out as gay to a parent. There is smoking and teen drinking, and some scuffles (no one badly hurt).

Family discussion: Why is Maeve so angry and impatient? What makes her change her mind about Dunburn? What would you say to Jeanette?

If you like this, try: “Grease,” “Hey Hey It’s Esther Blueburger,” the “Mean Girls” musical, and the “Pitch Perfect” series

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One Night Only

One Night Only

Posted on August 6, 2026 at 12:38 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for sexual material, language and brief nudity
Profanity: Very strong and crude language
Alcohol/ Drugs: Alcohol and drug references
Violence/ Scariness: Comic peril, trips to the ER, no one badly injured
Diversity Issues: None
Date Released to Theaters: August 7, 2026
One Night Only
Copyright 2026 Universal

A ridicuously silly premise manages to stay out of the way and let the glossy rom-com take over. Extremely attractive people with great chemistry, some genuinely funny situations and a touch of wit in the dialogue, a bunch of top actors in small parts, and some surprisingly sharp satire around the edges (watch for the posters and ads) make this more fun that you might expect. It helps that the movie itself does not take the premise too seriously.

According to the opening text, three years ago, Congress passed a law criminalizing sex between unmarried people except for just 12 hours on one day a year, non-procreative sex only. It’s known as the Mandate. How is this monitored and enforced? Red biomarkers on the wrists of unmarried people turn green only for the one permissible 12 hour period. No reason to think about this too hard except that people get to choose the symbol, like a tattoo, a tattle-tale biomarker that reports their activities to the authorities. Why this annual exception? Political compromise. In present day, it is just hours before the markers turn green and almost all of the young singles are extremely excited and focused, dressing to impress and, for those not in relationships, trying to find someone as quickly as possible. Condoms are sold out all across the city, a scarce few left are going for very high surge prices. Lubricant is being handed out on the street.

And so we meet the couple we will be rooting for and through many obstacles and wrong turns they will make on the way there. Owen (Callum Turner, holding his own as a romantic lead) owns a small pizza parlor and is looking forward to having sex for the third time with his live-in girlfriend (Maya Hawke). But she tells him she is planning to have sex with their neighbor instead. Allie (Monica Barbaro) is still hurting from the guy who had sex with her and then ghosted her the year before. She agrees to go to a bar with her friend, but the friend immediately abandons her to go off and have sex with someone she met in the line for the bathroom.

Allie and Owen keep running into each other as they keep trying to have sex with people that never happens for a variety of reasons, ranging from slapsticky to more slapsticky. You’ll have time to watch for some details on ads and signs that are funnier than anything in the story. But the travails of the two give them time to get to know one another and time for us to want to see them together. Barbaro (Joan Baez in “A Complete Unknown”) shows an engaging warmth and a gift for comic timing. And some of the people they meet along the way are so game that they keep things going. The excellent supporting cast in even the smallest parts includes Mike Birbiglia, “SNL’s” Ben Marshall, Molly Ringwald(!) as Owen’s mother and LeVar Burton(!!) as her boyfriend, plus Ziwe, Este Haim (who provided the very fine music), Julia Fox, and King Princess.

Hey, it’s difficult these days to find a way to keep romantic couple we want to be together apart for the length of a movie, and this is no more artificial than, say, having one of them be a vampire. The movie has one wise choice — it doesn’t waste much time on the premise. And it has one advantage — some recent political developments may make that premise less outlandish than we thought. A lot of stuff we thought was impossible now seems more like…improbable. That considered, with some funny moments and an unexpectedly sweet conclusion, it’s very watchable.

Parents should know that this is a movie about sex and it is filled with sexual references and situations and brief nudity. Characters use strong and crude language and drink alcohol, there are references to drugs and comic mayhem that includes injuries and some visits to the ER.

Family discussion: What kinds of laws have governments made to put restrictions on sex? What rules should there be? Did Owen and Allie make the right choice as the exception hours were coming to an end?

If you like this, try: “The Broken Hearts Gallery”

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Toy Story 5

Toy Story 5

Posted on June 18, 2026 at 11:16 am

A-
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for some thematic elements and rude humor
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Cartoon-style peril and action, no one badly hurt
Diversity Issues: A theme of the movie
Date Released to Theaters: June 19, 2026
Toy Story 5
Copyright 2026 Disney/Pixar

The toys are back in town! Thankfully, we may grow older, but they stay the same. Well, almost. It’s been 36 years since “Toy Story,” the first feature-length computer animated film, dazzled us with its technical brilliance but was unforgettable because of its heart and wit and irresistible characters. Remember that the reason Pixar’s first feature was about plastic toys was that smooth, shiny surfaces was pretty much the only thing they could create in those early years of digital animation. Even then, right at the very beginning, Pixar addressed the complications of changes in technology, in the potential replacement of a beloved cloth-covered cowboy toy who had a pull-string with a plastic space adventurer who had wings and a light-up wrist weapon. And even then, in what would become one of Pixar’s most perceptive and meaningful themes, the bittersweet changes that come with growing up. Endearingly, it is also about the beauty of imagination, with the series itself a perfect exemplar. I love Pixar’s love for the weirdos because they are the ones who grow up and create magic.

One of my favorite details from the first film was the difference in the way Andy wrote his name on the boots of the two toys. He got Woody (Tom Hanks) when he was younger, so the N was backwards. But he had learned more when he received Buzz, and wrote his name correctly. And one of my favorite details from the series overall is that the first film begins with a painted sky on Andy’s ceiling. Then, when he leaves for college, having given his toys to Bonnie, we see him leaving, with the real, endless sky above him. These show the care that goes into every detail and the vision that extends beyond each film.

Every move toward independence and adulthood means leaving something behind. The “Toy Story” series has served as something of a meta-measuring stick to help us consider our own changes, with the children who saw the first one in theaters now bringing their own children to part 5. And through the magic of animation, they are able to appreciate that Tom Hanks and Tim Allen may get older, but they are still our Woody and Buzz.

Now in the fifth episode, it is all about new technology, this time as a central theme, explored with insight, adventure, and hilarious jokes. At 8, Bonnie still loves playing with her toys, and the movie begins with a hilarious “wedding” between Forky (Tony Hale) and Karen Beverly (Knifey, voiced by Melissa Villaseñor) that is disrupted when the maid of honor, Rex the T-Rex (Wallace Shawn) is poisoned.

Two new children have moved in across the street, but Bonnie is more comfortable with imaginary friends than real ones and is too shy to ask them to play with her. Her classmates have given up toys to play with LilyPad (Greta Lee), and Bonnie’s parents think she might be able to connect with them virtually, so they get one for her.

At first, it seems to work well. Bonnie is accepted into the virtual friend group and loves playing games so much she all but forgets her analog toys. She is delighted when she is asked to a slumber party, but the girls make fun of her for bringing her Jessie (Joan Cusack) doll. Bonnie wants to be a part of the group so she pretends to be too grown-up for toys, leading to one of the best movie lines of the year. Rex says, “Extinction! Not again!”

The toys are devastated, and the story allows Woody and Duke Kaboom (Keanu Reeves) who in the last epsiode were off on their own, to come back for support. Jessie is the heart of this epsiode, though, and with her trusty horse Bullseye, she is the one who figures out how to get Bonnie a friend and leads the rest through their adventures. She also learns some important lessons that help her understand her value and heal some past hurts.

There are some new characters, including discarded toys with once state-of-the-art tech that is now charmingly nostalgic. They include a potty-training aid called Smarty Pants providing some poop humor (Conan O’Brien), a hippo-shaped map toy named Atlas (Craig Robinson), and a camera toy with pixels almost as big as a postage stamp called Snappy (Shelby Rabara). Even though we see him only briefly, I have to mention the plastic slice of pizza with sunglasses because he is voiced by Super Bowl superstar Bad Bunny.

Even Buzz gets an tech upgrade as we meet crates-full of new and improved Buzzes that have some cool new functions but just as much existential confusion as Buzz in the first movie.

As often happens in “Toy Story,” the characters get separated from their child and each other, so there is a lot of adventure along the way. And there are new human characters, including a horse-loving girl named Blaze (Mykal-Michelle Harris) who could also use a friend who shares her love of imagination. Past “Toy Story” villains have included Sid, who loved to take the toys apart and blow them up, and Al, who saw the value of toys only in what he could get from selling mint, never-played-with versions. The threat here, from LilyPad, who begins by feeling threatened herself by the analog toys and committed to helping Bonnie “reach all of her developmental goals,” is tempered by a thoughtful, nuanced exploration of what it means to be useful, and recognition that it is difficult to lose a child to aging out of the toy stage, but what you give them helps them forever.

NOTE: Stay through the credits for extra scenes.

Parents should know that this movie includes peril and action, with no serious injuries, as well as a sensitive exploration of issues of agency, identity, and loss. And some poop humor.

Family discussion: What is or was your favorite toy and why? Which is your favorite of Bonnie’s toys? When do you use your imagination?

If you like this try: The “Toy Story” series and all of the Pixar films

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Driver’s Ed

Driver’s Ed

Posted on May 14, 2026 at 5:54 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: MPAA for sexual references, alcohol use, language throughout, brief graphic nudity, and teen drinking
Profanity: Very strong language
Alcohol/ Drugs: Teen drinking, drugs and drug dealing
Violence/ Scariness: Comic peril and violence, crotch hits, car crash
Diversity Issues: Diverse characters
Date Released to Theaters: May 15, 2026
Driver’s Ed
Copyright 2026 Amazon/MGM

Four high school seniors impulsively “borrow” a driver’s ed car from their school and go off on a journey to Chapel Hill in a movie from director Bobby Farrelly that just about makes up for its predictability with its unpretentiousness. This is a “just go with it” movie, with paper-thin characters and contrived situations, but it invites us to go along for the ride.

Sam Niviola (“White Lotus,” and son of Emily Mortimer and Alessandro Nivola) plays aspiring film-maker Jeremy, who desperately misses his girlfriend, Sam (Lilah Pate), already in college. In French class, the teacher catches him texting her and makes his classmate Evie (Sophie Telegadis) read it aloud. The earnest but ineffectual principal (Molly Shannon), more concerned about her job security than educating students or molding their characters, gives him a week’s detention.

An ineffectual but not earnest substitute driver’s ed teacher with both arms in casts (Kumail Nanjiani) takes Jeremy, Evie, and two other students out for a driving lesson. Don’t bother with the explanation of why four 18-year-olds don’t already have their licenses or how contrived it is that they are four ethnically diverse non-overlapping stereotypes who apparently have been watching each other closely since elementary school and have bite-sized story arcs to resolve their issues. Just go with it.

The other two students are Aparna (Mohana Krishnan), the study-all-the-time girl and Yoshi (Aidan Laprete), the apathetic slacker drug dealer. The appealing young actors all do their best to give some life to these paper-thin characters, but struggle with the lightly sketched emotional scenes. Inexplicably, both in terms of narrative and character, the one person who does not get a moment of confession leading to understanding and connection is Evie, whose reason for not having a driver’s license two years after eligibility is that she used to have friends drive her around but she “divorced” them all. This seems ripe for further examination, and failing to give her any kind of depth except for a palpable long-simmering crush on Jeremy might create more of a sag in the storyline if it wasn’t primarily focused on the incidents along the way.

Those include hitching a ride with a high-spirited couple, transporting a refrigerated truck filled with expensive furs they keep insisting have aphrodisiacal qualities, being chased by a determined cop (Bri Giger) who happens to be the former partner of the high school’s thrown off the force ineffectual (do we see a theme about the grown-ups here?) security guard, an encounter with an armed robber/drug dealer, and, in the film’s brightest performance, a. pre-med student (Marley Aliah) bringing an emotional support dog to comfort some sick kids.

It’s difficult to judge this film harshly because it is so soft-hearted that it is even sympathetic to a gun-toting drug dealer and even gives Jeremy a soft landing when he finally makes it to the campus and gets to talk to Sam. If it shifts his obsession with Sam into another relationship as ridiculously quick as Duckie at the end of “Pretty In Pink,” we cannot help but think a happy ending for everyone is just right.

Parents should know that this movie has teen drinking and drug use and two characters are drug dealers. Characters use very strong and crude language, peril and violence includes an armed robber and car chases and crashes and several crotch punches (no one badly hurt), sexual references and brief nudity and a lot of irresponsible behavior.

Family discussion: How did you/will you learn to drive? Why do you think Evie broke up with her friend group?

If you like this, try: a much better teens taking off for a road trip movie, “Paper Towns” and some of the movies Jeremy is inspired by

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