Surprisingly incoherent and boring

All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Zipping Along (1953) *** (out of 4) The fourth Wile E. Coyote and Road Runner series has four way roads, guns, bombs, bird seed, cutting the strings on a bridge and more TNT as the dumb one keeps trying to catch his dinner. Even early on in the series we're starting to get quite a few repeat jokes and this would certainly continue throughout the series but you can help but be entertained by Wile's effort to get something to eat. The joy of watching him try and try harder only to fail is the real key to this series since the Road Runner offers very little outside his classic "Beep Beep". The highlight of the film has to be the free bird seed offer.

I like these opening graphics which give us various "scientific names" of the two main characters. This time, the roadrunner - who is shown outracing a fast train - is labeled "velocitus tremenjus." Wile E. Coyote, watching from above, is now labeled "Road Runnerus Digestus."Wile E.'s slapstick attempts at getting the bird include a hand grenade, mousetraps, a giant kite with a big bomb, falling telephone poles, bird seed with steel shot and a giant magnet, hypnotism, a giant boulder, shotguns and more! It's unbelievable how many attempts the coyote makes in each cartoon with the predictable results.This wasn't one of the funnier episodes, I didn't think, although it was entertaining as always.

'Zipping Along' introduces the Road Runner as Velocitus Tremendus and the Coyote as Road-Runnerus Digestus before the chase starts. In this cartoon the Coyote uses, or tries using, mousetraps, cannons, a lot of guns and even hypnosis that he tests on a bug. Of course things do not work as planned and every single time the joke is on him.Like with all other Road Runner vs. Coyote cartoons you will not be bored. I smiled almost the entire time. The simple but quite funny animation works for most moments and this is one of those cartoons where the music helps with the gags. There are better ones from the series but it is most definitely entertaining and enjoyable enough.

It's strange how your perspective shifts as you get older. When I was a young devotee of ROADRUNNER, it was the titular hero I identified with, his speed, obviously, his unassailability, his grace, his freedom, his cheek. Watching him again, nearly two decades on, I find that the real hero of the cartoon is not this miraculous popinjay, but his hapless nemesis, Wil E. Coyote.There is something monstrous and inhuman about Roadrunner's indestructability, but nothing heroic. He is a creature of instinct, he is what he is, a road runner. We should no more applaud his skill than we should marvel at rain falling. Even his mockery seems mechanical, unwilled. He is something abstract, ungraspable, a hurtling metaphor for all we fail to achieve in life.Wil E. we can love, identify with. He has a name. Like all self-willed names, it is preposterously inappropriate. Although part of his failure can be attributed to his enemy's fleet feet, it is his ineptitude that is mostly to blame. His wily schemes are incompetently conceived in the heat of the moment - the eternal chase allows no room for pause.These cartoons are a further elaboration of Buster Keaton's Beckettian agonies - here plot is completely abandoned, for a daring, perpetual repetition, where closure is forever denied. Because the only closure could be death - Road Runner's, Wil E.'s, or ours. We will never pin down that which we can sense, but cannot hold. And yet we must continued to try, because stillness can only lead to thoughts of mortality and despair.Chuck Jones' imagination only improves with age. The Cezanne-like geometrics are a marvel to behold. The saturated colours still dazzle, and the backgrounds, part simplistic children's book illustration, part bleak dreamscape, are as piercingly evocative as ever. The insane and complex variations on what is essentially a simple, inexorable plot are breathtaking, and puts almost everything that was stumbling lamely out of Hollywood at the time to shame. Jones, horribly underrated, was at least as great a director as Keaton, Hawks or Sirk, and it is about time we said so. So I did.