Four years after Warner Bros. shot it, and three years after the studio shelved it for tax purposes, “Coyote vs. Acme” has crossed $100 million at the global box office. The milestone is more than a novelty: it is a case study in what can happen when a rescuer picks up an abandoned film and markets the rescue itself.
The number
The live-action/animation hybrid, based on Ian Frazier’s 1990 New Yorker story, passed the $100 million mark globally this weekend. Ketchup Entertainment, which acquired the finished film in 2025, got there with a theatrical release after Warner Bros. had declared it un-releasable.
Context makes the figure sharper. Warner Bros.’ “Supergirl” grossed $126 million internationally, but reportedly cost $186 million before marketing. “Coyote vs. Acme” is now above Ridley Scott’s “The Dog Stars,” which brought in $38 million worldwide, and within reach of Amazon MGM’s “Masters of the Universe” at $114 million.
Marketing the shelving, not hiding it
Ketchup, with PR firm 42West and Ryan Reynolds’ Maximum Effort marketing arm, leaned into the film’s strange origin. The tagline: “The Movie ACME Didn’t Want You to See.”
Director Dave Green said audiences “spoke up and spoke loudly for the Coyote.” Producer Chris DeFaria called the number something that exceeds expectations, “but never our hopes.”
What the campaign did well:
- Started with a Comic-Con panel in 2025 that announced the release date and framed ACME as the bad guy.
- Used podcast and interview placements for Green, Will Forte and John Cena to sustain months of pre-release conversation.
- Turned the premiere into a fan moment, with the Coyote on the red carpet and the UCLA marching band leading the theater.
Why it matters
For media planners and entertainment marketers, this is a reminder that distribution and marketing strategy can alter a title’s commercial fate. The product existed; the audience was skeptical of its backstory. Ketchup made the backstory the campaign. That is different from hiding a messy history behind a conventional trailer cycle.
The next phase is already set: digital on Sept. 29, physical media and streaming later, and a possible Best Animated Feature push. The theatrical number now becomes an acquisition asset for those windows.
Source: TheWrap
