I appear on “CTV News at 6” with anchor Andria Case to talk about the passing of entertainment legends Dolly Parton andTim Curry, and the live action/animagtion hybrid “Coyote VS. Acme,” now playing in theatres.
Watch the whole thing HERE! (Starts at 38:04)
Watch the whole thing HERE! (Starts at 13:38)
Watch the whole thing HERE!
Listen to the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the animated anarchy of “Coyote VS Acme,” the dystopopian “The Dog Stars,” the fresh rom com “Finding Emily,” the silly smarts of “Idiots” and the supernatural slasher “Buddy.”
Listen to the whole thing HERE!
Watch the whole thing HERE!
Listen to the whole thing HERE!
CAST: Will Forte, Lana Condor, Tone Bell, Luis Guzmán, Martha Kelly, P.J. Byrne, John Cena. Eric Bauza, Kenneth Choi, Candi Milo, Jim Cummings. Directed by Dave Green.
REVIEW: Shot years ago and shelved as a tax write off by Warner Bros. Discovery in 2023, “Coyote vs. ACME” is finally getting its richly deserved chance at a big screen release courtesy of Ketchup Entertainment.
Anyone familiar with Wile E. Coyote’s endless pursuit of the Road Runner, will also know of his unsuccessful use of rocket-powered roller skates, anvils, dehydrated boulders and many other tools of destruction manufactured by ACME.
After years of unsuccessfully using their products Wile E. Coyote has had enough. Holding a placard reading “ACME SUCKS,” he hires down-on-his-luck attorney Kevin Avery (Will Forte) to sue ACME Corporation for selling defective gadgets. “ACME has knowingly been making dangerous products for decades!”
As ACME’s lawyer, the ruthless Buddy Crane (John Cena), prepares to go scorched earth on Avery—“I don’t just want him scared, I want him ruined!”—the case reveals ACME as a profit-obsessed conglomerate with no regard for the safety of its customers. “Wile E. Coyote,” says Crane, “is reckless and all his injuries are self-inflicted.”
A mix of live action and animation, à la “Who Framed Roger Rabbit,” “Coyote vs. ACME” blends a high-level comedic cast, led by Will Forte, and classic cartoon characters in a rambunctious comedy that captures the anarchic spirit of Looney Tunes/Merrie Melodies films.
It’s a love letter to the cartoons that inspired it, but it’s not simply a rehash of decades old animated movies. Instead, it takes well-known characters, like Wile E. Coyote, the Roadrunner, Elmer Fudd, Daffy Duck and many others (mostly voiced by Canadian actor Eric Bauza), and creates a new world for them to inhabit without losing what made them fun in the first place.
Wile, for instance, is taking on ACME, an even bigger foe than The Roadrunner, but just like in the old shorts, he refuses to give up no matter what. His perseverance against Sisyphean odds is the thing that makes him lovable, and when echoed in Avery’s rediscovery of what the law can do for his client, brings a nice symmetry to the storytelling. “He’s one of the most hard-working people I’ve ever met,” Avery says of Wile. “He would never think of quitting. And I think everyone should be inspired by that.”
Fans will uncover Looney Tunes/Merrie Melodies tributes throughout. “That’s all folks,” written in dust on the back of Avery’s car, is a throwback reframed as a veiled threat from opposing council. The non-consensualist Pepé Le Pew is blasted with anti-predator spray, and Foghorn Leghorn as ACME CEO.
Hard core fans will note that Forte’s character, Kevin Avery shares a last name with Tex Avery , director and co-creator of the Looney Tunes/Merrie Melodies style.
“Coyote vs. ACME” is a lot of fun, creating something new from the nostalgia fans feel for these characters and their trademarked brand of comedic chaos. It hits the anvil on the head (or should that be the other way around?) with impossible cartoon physics, humor—Forte and Cena are live action but have a fun cartoon vibe—heart and even some unexpected anti-corporate messaging.
SYNOPSIS: Set three years from today, “Mercy,” a new sci fi action film starring Chris Pratt and Rebecca Ferguson, and now playing in theatres, sees Pratt play a detective accused of murdering his wife in a world where his fate will be determined by an AI judge. “The future of law enforcement is Mercy.”
CAST: Chris Pratt, Rebecca Ferguson, Annabelle Wallis, Kali Reis, Rafi Gavron, Chris Sullivan, Kenneth Choi, Kylie Rogers. Directed by Timur Bekmambetov.
REVIEW: A movie about AI that feels as though it was written by AI, “Mercy” is a hacky, old school detective story with a technological twist.
Set in the near future, “Mercy” follows LAPD homicide detective Chris Raven (Chris Pratt) one of the main proponents of a new technology-driven justice system. In a city overrun by crime and civil unrest, the Mercy Program is projected to offer fast, unbiased justice, acting as judge, jury, and executioner to prisoners presumed guilty until proven innocent.
As one of the public faces of the Mercy Program, Raven talks up the IA-based system, braying that the Mercy Capital Court will help clean up the streets. “I am proud to have sent the first suspect for trial here,” Raven says at a press conference. “And I will continue to send more until the message is received.”
The concept is simple. The accused have ninety minutes to present evidence and convince the AI judge (Rebecca Ferguson) of their innocence. If they fail to reach the 92% innocence threshold, they will be immediately executed so the good folks of L.A. County can “sleep at night” secure in the knowledge that they are safe.
Reven is all for it until he is accused of murdering his wife and set to face the judgement of the system he once championed. “I shouldn’t be here,” he says. “I loved my wife. I didn’t kill her.”
An attempt to breathe new life into a detective procedural, “Mercy” earns points for shaking up the genre, but any goodwill that comes along with that soon disappears under a fog of ludicrous twists, central casting characterizations and frenetic headache-inducing visuals.
In a movie filled with dubious storytelling choices, perhaps the biggest is the charisma killing decision to to keep Chris Pratt strapped to a chair for most of the running time. The action happens around him, like he’s sitting on a giant green screen, floating amid the body cam and surveillance footage as he uses his detective skills to prove his innocence. Playing the strapped-in, troubled cop with a dead partner and a drinking problem, doesn’t allow Pratt to use the charm that made him a star.
Ditto Rebecca Ferguson, seen here as though she handed in the head-and-shoulders performance as a digital judge via a Zoom call. She’s meant to be a cold, authoritative figure, void of emotion, and while she pulls it off, the icy demeanor dulls the character’s impact. “I was not designed to feel,” she says, and it shows.
Stranger than the casting decisions is the film’s take on AI. What begins as Hollywood sending the message that the clock is ticking, and if we don’t act AI will kill us—a message embraced by much of the creative community—becomes muddled near the end. No spoilers here, but the film’s point-of-view inexplicably changes from the idea that humanity, though imperfect, is superior to artificial intelligence to something akin to having sympathy for the artificial intelligence. It’s a polarizing topic and the film disappointingly fails to take an interesting or consistent stance on AI’s ethics and impact on the world.
“Mercy” is slick and face-paced but no amount of style and high-octane imagery can disguise the film’s fatal flaws.
