Will Forte's 'Coyote vs. Acme' set for release Aug. 28, 2026
July 27 (UPI) -- Comic actor Will Forte's movie, Coyote vs. Acme, is set for theatrical release on Aug. 28, 2026.
The announcement was made Saturday at San Diego Comic Con.
Variety reported that Ketchup Entertainment bought the completed, live-action and animated hybrid film from Warner Bros. Discovery after the studio shelved it, along with Batgirl and Scoob! Holiday Haunt as part of a new business strategy and change of management.
Deadline noted that Ketchup also recently released another Looney Tunes movie, The Day the Earth Blew Up.
"I'm pretty speechless," The Hollywood Reporter quoted Forte as telling the crowd at SDCC.
"It blows my mind. You think back to the journey this movie has taken. I had kind of given up hope at a certain point, so this is amazing."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
UPI
2 hours ago
- UPI
Movie review: 'Together' drags despite Brie, Franco commitment
1 of 5 | Alison Brie and Dave Franco, seen at the 2023 Vanity Fair Oscar Party, star in "Together." File Photo by Chris Chew/UPI | License Photo July 25 (UPI) -- Together, in theaters Friday, has a clever premise but dawdles its way to the good parts. Alison Brie and Dave Franco rise to the occasion by selling the horror, but the film takes too long getting to its macabre extremes. Brie and Franco, who married in 2017, play Millie and Tim, a couple who move to the suburbs for her new teaching job. On a hike, they fall into a cave and drink some water that causes them to merge together. When they first wake up with their legs fused together, it's only slightly painful to pull apart. The pull toward each other grows more and uncomfortable, however, and difficult to separate. While a combination of prosthetic makeup and visual effects achieves the melding of flesh, it's the actors' performances that convince the audience Millie and Tim are in pain. Brie and Franco's bodies contort as their ailment pulls them together. The more entangled their connections, the more they must punish themselves to pull themselves apart. When the performances reach that level, they feel like Bruce Campbell in Evil Dead 2, willing to chop off his possessed hand with a chainsaw. Unfortunately, those moments are few and far between. Though it is necessary to explore some of Tim and Millie's relationship issues that the crisis exacerbates, that portion of the film could be more efficient. The couple's issues are rather basic. Tim is still trying to make his music career happen and is commitment-phobic about moving away with Millie. That's about as generic as relationship movies get. Millie fares a bit better, with Brie avoiding the trope of a domineering partner making ultimatums. But then, she seems either oblivious to Tim's very obvious discomfort or delusional in ignoring the red flags. The photography also goes overboard in depicting the magnetic pull Tim and Millie struggle to resist. Writer/director Michael Shanks loves to turn the camera upside down and after several of those shots, it's enough already. That Franco and Brie are married seems to contribute to their comfort in depicting the physical scenarios together. Non-married actors could certainly act, but it feels like a couple having fun folding themselves around each other. The moments of extreme horror are sure to elicit visceral reactions from viewers. Alas those moments are surrounded by a very banal relationship drama. Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.
UPI
4 hours ago
- UPI
Famous birthdays for July 28: Jim Davis, GloRilla
TV // 15 hours ago 'It: Welcome to Derry' to premiere on HBO, HBO Max in October July 27 (UPI) -- The "It" prequel, "Welcome to Derry," is to premiere on HBO and HBO Max this October. The horror franchise is inspired by the writings of Stephen King.
UPI
11 hours ago
- UPI
'Stranger Things: First Shadow' stars focus on humanity amid horror
1 of 3 | The stars of Broadway's "Stranger Things: The First Shadow" pose on the red carpet near Times Square on April 22. Left to right, Juan Carlos, playing Bob Newby, Alison Jaye, playing Joyce Maldonado, Burke Swanson, playing James Hopper, Jr., Louis McCartney, playing Henry Creel, and Gabrielle Neveah Green, playing Patty Newby. File Photo by Angelina Katsanis/UPI | License Photo NEW YORK, July 27 (UPI) -- Burke Swanson and Alison Jaye say they focused on the humanity even more than the horror when playing teen versions of Hopper and Joyce in Broadway's blockbuster Stranger Things prequel, The First Shadow. Penned by Kate Trefry and directed by Stephen Daldry, the supernatural stage play takes place in the 1950s, in the fictional town of Hawkins, Ind., and offers origins stories for the beloved grown-ups -- and terrifying uber-villain Vecna/Henry Creel -- from the 1980s-set Netflix TV show. "Within the spooky, sci-fi nature of it all, there are real humans trying to figure themselves out and figure out what their community's like," Swanson told UPI in a recent Zoom interview. Even before Henry (Louis McCartney) arrives and unwittingly turns the town upside-down, Hopper and his classmates Bob Newby (Patrick Scott McDermott) and his adopted sister Patty (Gabrielle Nevaeh) are dealing with parent-related tension and trauma. "What was so special to me is that it wasn't shying away from those stories," Swanson said. "It's a big thing that we're doing here. There's a lot to tell and it almost doesn't fit within one show, but there's a willingness to explore not only the father-kid relationships, but the mother-kid relationships and how each different dynamic is processed." Patty's outsider status leads her into danger because the only person she feels connected to is Henry. "Patty has really been pushed to the side, not only within the community, but also within her family," Swanson said. "Bob did not support Patty in a way that she needed and she comes into her own as this really incredible, strong female lead," he added. "He gets this really powerful moment just to acknowledge, 'I messed up and i want to do better.' And I think those moments -- even within the sort of 'Mind Flayer' of it all -- are the things that really push us forward through that story." As for Hopper, he is leaning into his "bad-boy mentality" when the audience first meets him, but he matures a bit throughout the play as he tries to help his friends and neighbors, Swanson noted. "In classic Hopper fashion, he's got a really sentimental heart," Swanson added. "What continues to be learned in this show is the power of community and the power of friendship and Hopper believes that he will be better off alone. His relationship with his father is not good. There's no communication there and I think what we see is the glimpse of the hope of who Hopper can become when he chooses community." Just as the Netflix series is famous for tapping into the nostalgia of the 1980s, the stage production perfectly re-imagines Middle America in the 1950s. "It's been a blast getting to dive into the music, into the aesthetics and costumes. We really got to emphasize the color, the dynamic of that time period, visually," Swanson said. "What's really, really fascinating about the '50s -- and this has been touched on by many different art forms -- is what happens when that facade begins to crack because the sleepy little town of Hawkins, Indiana seems to have begun to experience some very spooky things much earlier than we thought." Hopper may be decades away from becoming the sheriff who will date single mom Joyce, but the two do know each other quite well at this point, even if they don't travel in the same social circles until they team up to solve the mystery surrounding Henry. While Hopper is a loner, teen Joyce is a bubbly theater kid obsessed with directing the school play. "With this version of Joyce, there is a real questioning and push and pull of, 'Is this the life I'm going to choose? Or am I going to be able to get out of here and escape and become something bigger than this town?'" Jaye said. The actress loves that -- even though the play has spectacular special effects -- the characters live in a low-tech era guided by their instincts and moral compasses as opposed to cell phones or computers. "These kids don't have that. All they're leaning on is each other. If we're talking about the trio of Bob, Joyce and Jim [Hopper], we wake up every day and just knock on each other's doors and continue investigating, just like we kind of see [kid characters do] on the TV show," Jaye said. "There's that buoyancy and that fervor, that rigor to: 'We've got to dig. We've got to solve this problem.' They put all that energy on each other, instead of on technology, and connect that way, which is, I feel like, a big difference between what we're living in now." Although many fans of the Netflix series have been rooting for grownup Hopper (David Harbour) and Joyce (Winona Ryder) to hook up for years, others cheered when Joyce finally seemed to have a brief but stable romance with nice-guy Bob (Sean Astin) before he was attacked by Demodogs while protecting Joyce and her sons. Teen Bob is shy, earnest and clearly in love with Joyce. "When I watch the series, that was immediately one of my favorite characters who, unfortunately, didn't last that long. But he provides such a grounded sense of being," Jaye said about Bob. "They are so different, but, yet, it is the softness of Bob that softens Joyce. I feel like we do get to see that and celebrate that in the early moments of the show together." Jaye said she has been overwhelmed by support from fans who get a kick out of learning more about their favorite TV character by watching the play. "People of all ages have been like: 'Oh, my gosh! Of course, Joyce is a theater kid! How did I not put that together?' There's no nod to that in the series at all, but Kate created this back story for her," Jaye explained. "There's a nerdy tenderness and, also, a major headstrong authority to her that somehow makes it all make sense to me perfectly."
