Set in Albuquerque, New Mexico, “Coyote vs. Acme” (2026) is an entertaining and incisive mix of live action and animation that adapts Ian Frazier’s satirical article “Coyote v. Acme” in “The New Yorker” issued on February 19, 1990. After once again failing to catch the Road Runner (meep meep), Wile E. Coyote sees a commercial featuring lawyer Kevin Avery (Will Forte) saying that it is not his fault but the Acme Corporation. Coyote heads to the big city to plead his case unaware that Kevin just deals in chump change and is not used to a case of this magnitude. Will Acme crush them like an anvil, or will they remain stalwart despite the odds? “Coyote vs. Acme” is at least in the top three animated movies of 2026 along with “Goat” (2026) and “Toy Story 5” (2026) while also functioning as an incisive critique of bias, business, and systemic bureaucratic failure that erect invisible roadblocks to justice.
If anyone had Wile E. Coyote as an underdog everyman to admire for his indomitable spirit on their bingo card, congratulations. Apparently, he is also a bit of a genius according to his business card, but even he is struggling. The eternal chase is taking its physical and mental toll. He finds hope in a commercial that most learn to shut out as background noise, leave his comfort zone and take a completely different tact. He decides to turn his sights on Acme. Inexplicable inner compulsion motivates Coyote’s incessant drive and immunity to being discouraged and deterred from pursuing his dreams and expressing his grievances. DNEG, the artists behind the scenes, succeeded at showing a more empathetic side of well-known characters from “Looney Tunes” and “Merrie Melodies,” which is especially impressive when the characters do not talk.
Kevin is his opposite. His life experience has taught him to be practical, modest and survive. He has a lot of legal knowledge and is content with aiming low. His intern and niece, Oxford law student Paige (Lana Condor), is trying to get him invested in making a difference and is the first to note the disparate treatment between cartoons and human beings and validate cartoons’ pain as real and harmful as human suffering. Kevin goes on an emotional journey where he stops fearing looking like a fool, defining success with wins and feeling the pressure to be a certain type of lawyer. Kevin discovers how to be authentic (and occasionally pathetic), realistic and invested in his vocation and the people, animated or not, around him thanks to his time with Coyote, who inspires him to fight even if he will never succeed. Forte is perfect for the role. On a normal workday, he is the equivalent of a live action cartoon character with the perfect voice to match.
Even if “Coyote vs. Acme” gets a lot wrong about the legal profession and system (a trial would never be that quick, attorneys usually do not get addressed as “Mr.” in court), it is right in spirit. Most attorneys are scared to actually bring things to trial and would prefer to settle. Kevin says, “It is really super easy to lose, and it is better you learn that now.” The best aspect of this film is managed expectations and not a false David versus Goliath narrative. It seems serious for a film geared towards eight-year-olds, but if you are a parent who favors thrillers or legal dramas like “A Civil Action” (1998), “Erin Brockovich” (2000) or “Dark Waters” (2019), you will love it. It emphasizes that legality should not be equated with morality and takes the countercultural approach of humanizing the ambulance chasing lawyer as a figure of potential justice, not a huckster.
There is even a villain. It is not Buddy Crane (John Cena), the head lawyer for Acme Corporation and Kevin’s former classmate from Harvard Law School, but Foghorn Leghorn (Eric Bauza), a proud cartoon who prioritizes profits over solidarity and uses self-hating rhetoric in public to do so while in private, he bristles and reacts threateningly to anyone who is as callous. Judge Troppogrosso (Luis Guzman) is depicted as unjust, absolutely not blind and automatically prejudiced against anything cartoon related as easily minimized and dismissed. The cartoons, i.e. the have nots, are depicted as systematically discriminated against, but they are simply the canary in the coal mine. A cartoon is far less polarizing than any group that the hate tree targets so the framing cleverly evades people’s conscious biases. Cartoon violence affects human beings who are lower in the hierarchy first, but the ripple effect does not stop there. If you come from a family that would not let you watch cartoons because they were too violent, you may feel proud of yourself for being ahead of the curve.
The biggest twist is that “Coyote vs. Acme” winds up being unexpectedly heartfelt and sincere. On its surface, it is a satisfying odd couple movie on two levels. Kevin and Coyote are obviously one pair as they learn to find common ground and be transparent with each other instead of using each other to achieve their objectives, but the other will be a surprise. Bring your tissues then get your therapist on the line because the hint is that it is a toxic relationship, not friendship at all, but sweet nonetheless. Do not try this at home. The animators put their foot in this one (compliment). It is reminiscent of having a routine with a stranger that you never have an exchange with, but you get used to each other and miss the other if they do not appear.
If you do not care about the quality of the story and just want to have a good time, you will. “Coyote vs. Acme” is packed with hilarity. Everyone takes a crack at catching the Road Runner, who is undefeated. While the chaser’s results vary, it reliably ends in disaster. John Early, the creative comedic revolutionary behind “Maddie’s Secret” (2025), appears as a news anchor, Henry Heslop. Dottie Jones (Martha Kelly), one of two of Kevin’s partners, is hilariously monotone and transparently dodging work like their other partner, Sal Maltese (Tone Bell). Kenneth Choi is underutilized as a fellow bottom feeding lawyer, Oscar Jeon. P.J. Byrne, who is having a summer in the spotlight appearing earlier as an obnoxious neighbor in “The End of Oak Street” (2026), plays Bill Pellicanos, Crane’s most enthusiastic attorney who goes out into the field to ensnare a witness. Composer Steven Price’s use of meep meep is simultaneously epic, sweeping and amusing.
A franchise dating back to 1930 proves why it is a classic with “Coyote vs. Acme.” It is wild that a film this good almost did not see the light of day, and you do not need to be familiar with the cast of characters to enjoy. While it may require more brain power for kids than most animated films, if they do get it, the kids will be alright.
