Hypnosis doesn't help the Coyote catch the Road Runner, nor do a clutch of string-controlled rifles or dozens of mousetraps, but they all manage to backfire on him, naturally.
The Coyote makes various attempts to get the Road Runner with an explosive-tipped arrow, by shooting himself out of a sling shot and by covering the road with quick drying cement.
Among the strategies that fail in Wile E. Coyote's attempts to catch the Roadrunner: glue on the road, a giant rubber band, an outboard motor in a wash tub, and dressing in drag as a female Roadrunner.
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.
Wile E. Coyote is chasing the Road Runner (still) and comes across the Acme Book of Magic. With the power to levitate heavy boulders, fly on broomsticks, and transfigure anything to suit his need, it seems like Wile E.
A Burmese tiger trap, a pop-up steel wall, a motorcycle, and a box of Acme-brand leg-building vitamins can't help the Coyote (Eatibus anythingus) catch the Road Runner (Hot Rodicus supersonicus).
Popular movie trailers from 1965
These some of the most viewed trailers for movies released in 1965:
High school students experience the everyday worries of their age - they prepare for their high school graduation, go on a production internship at an engineering plant, and compete for a ski trip to the Krkonoše Mountains.
A group of women are workmates at a laundry. Rike is spreading a rumor about the manager Marta, a rumor that Marta is a lesbian and that she once tried to seduce Rike.
During the 1800s, Peru's government sends 2 envoys to negotiate peace with the rebellious Incas but a treasure-hunter bandit shoots the Inca ruler and his son, leaving the 2 envoys to take the blame for it.
The films were made between 1964 and 1966 at Warhol's Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second.
A scientist discovers a way to bring the dead back to life using nuclear power but it makes him the target of secret agents who will stop at nothing to get his formula for themselves.