Wile E. Coyote unsuccessfully chases the Road Runner using such contrivances as a rifle, a steel plate, a dynamite stick on an extending metal pulley, a painting of a collapsed bridge (which the Coyote falls into while Road Runner passes right through), and a jet motor.
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One of the best Wile E. Coyote and Road Runner cartoons. Lots of memorable gags, including ACME jet bike, "STOP! BRIDGE OUT!," and the famous bat-man suit. That last one is among the series' most iconic gags. Chuck Jones is firing on all cylinders, including an amusing bit that starts during the opening credits. The animation is crisp, the music lively, and the colors are beautiful. The Coyote & Road Runner cartoons were always simple and a bit repetitive but so much fun. Some of the best slapstick comedy ever put on screen, animated or otherwise. This is near the top of the series. Definitely a good one for new viewers to get their first taste of Coyote & Road Runner shorts. Sheer fun from start to finish.
Chuck Jones's 'Gee Whiz-z-z', the eighth Road Runner cartoon, introduced a significant new development into the series by replacing the sumptuous desert backgrounds with a more stylised, minimalist look. While this new look may not have been nearly as gorgeous to watch as the earlier shorts, it certainly didn't do anything to slow down the gag ratio. In fact, 'Gee Whiz-z-z' is so packed with great jokes that it forsakes the longer set-up sequences of the previous few Road Runner cartoons and pushes the action right into the credits in order to maximise the amount of time Jones has to make us laugh. 'Gee Whiz-z-z' features a few of the very best gags of the series (amongst a small handful of more forgettable moments). Chief among these is the legendary sequence with the green bat costume. On paper, this gag sounds like a weak offering but with hysterically funny facial expressions and one perfectly timed glimpse towards the camera, Jones turns it into gold and one of the most fondly remembered spot-gags in animation history. There's also a new take on the painted-scenery gag with a neat new twist. My favourite thing about 'Gee Whiz-z-z', however, is the ending in which Jones himself shares in the audiences sympathies for the Coyote so strongly that he cuts him a break with an early iris-out.
Seriously, if I had the ability, I would waste all my days watching Looney Tunes cartoons. Another perfect example as to why I would pursue such an extreme case of slothfulness is this cartoon here, which features more of Wile E. Coyote's attempts to catch his beloved Road Runner. Here we see yet more of Michael Maltese's ingenuity as our coyote continues his fixation on dynamite and many Acme products to get his bird.Wile E. Coyote (Eatius Birdius), goes for Road Runner (Delicius Delicius) yet again.Honestly, for the Jones/Maltese combo, this had become nearly standard fare. This is heightened with another foursome of excellent animators, who started together on the Pepe short, Wild Over You, a mere few years earlier. Does anyone know what Wile E. was going to accomplish with that bat costume? One of the better parts involve poor Wile E. holding up a steel plate to stop the Road Runner. If you love Looney Tunes, this is yet another mark on your checklist you must cross off!
GEE WHIZ-Z-Z-Z! is yet another of the classic cartoons starring Road Runner and the Coyote of the 1950's. The Coyote constantly tries to capture the speedy Road Runner, who inevitably escapes leaving the predator humiliated, hurt and simply furious, though he never shows it. In GEE WHIZ-Z-Z-Z! he generally misses the Road Runner when the bird turns suddenly, while the Coyote keeps running dead ahead, usually off a cliff.Some of the funniest moments in the series appeared in this cartoon, such as the bat-costume and the handheld dynamite launcher. The animation is smooth, detailed and makes watching new cartoons in the series, like WHIZZARD OF OW, seem all the more disappointing. Yet for all the great things about GEE WHIZ-Z-Z-Z!, it isn't any better than the usual Chuck Jones run-of-the-mill cartoon in the series. That's how good they all are. The only thing that really makes this a bit different is the layouts, by Ernie Nordli. Maurice Noble had been art director for a couple of years before this cartoon, so why Nordli was working on it, and making the backgrounds look like Peter Alvarado is beyond me. It's not a fault, it just puzzles me. All in all, you can miss this or watch this, any classic in the series will do.