Heck, just seeing Mickey and Donald on the same screen as Bugs and Daffy is a Real Life CMOA in its own right.
Also the fact that the sign-offs of Porky Pig and Tinker Bell are blended together flawless in the end.
"I'm not bad,...I'm just drawn that way."
Even if it didn't work out, Roger barging into the Acme warehouse with a gun to try and save Jessica and Eddie from Doom's clutches is pretty impressive. Considering he knew full well that Doom wanted to kill him, that took guts.
Doom gets one of his own:
Doom: The rabbit says one way or another he and his wife gonna be happy. Is that true? Eddie: Pal, what do I look like? A stenographer? Lt. Santino: Shut your yap, Eddie. The man's a judge. Doom: That's alright, Lieutenant. From the smell of him, I'd say it was the booze talking. (Eddie glares at him)
Eddie manages to get back at him good though with the good ol' handbuzzer.
Judge Doom deserves a mention too. He is probably the only villain who can pull off a high pitched squeaky voice and make it sound legitimately threatening.
When Eddie and Jessica are held as prisoners by Doom and the Toon Patrol, one of the weasels, Greasy, decides to sexually harass Jessica by putting his hand in her breast to "check for weapons". Too bad, Jessica had a bear trap in place which causes the perverted weasel the karmic pain he richly deserves.
Eddie: Nice booby trap.
Bob Hoskins deserves some major props for his phenomenal acting. He's TALKING TO AIR for about 95% of the time, but you honestly believe that the cartoons are there with him. A crowning example is Eddie walking through the Maroon Cartoons lot, pausing to observe all of the cartoon antics going on around him. None of which is actually thereand you can't tell.
Another star of the movie is simply the Visual Effects of Awesome. Never before has animation been so convincingly and brilliantly fused with live-action footage (hardly any computers, mind you) making cartoons actually look like they physically occupy space in reality. It really set the bar for Live-Action/Animation hybrid films even today.
The filming of the car chase alone deserves mention. It was filmed with Bob Hoskins inside of a custom built vehicle resembling a go-kart. The wheel Bob had was made of rubber and bendable to make it cartoony, while the kart itself was driven by a second driver sitting below him and close to the road; all of which was drawn over later. For certain shots Bob was replaced by a drawn counterpart, but they go by so fast you would never know unless you freeze frame them (Such as when they're in the alley and Roger spins the car the other way).
The scene where Eddie is trying to saw off the handcuffs keeping Roger attached to him is another standout example. The cuff that's supposed to be attached to Roger is being held up via a mechanism inside the box that can be shifted as Roger "moves" and when Roger slips in and out of the cuff, you can see it animated for only a very brief moment. When Roger holds the box still for Eddie, it's either Hoskins himself or something else holding it in place. One thing that adds another layer to all of this is that Roger had knocked into an overhead lamp just beforehand causing the light to keep shifting throughout the entire scene, meaning the animators had to match up the light on Roger when they add him later.
If you know anything about the legal nightmare of Disney and WB allowing their characters to be used in the film, it's a clear miracle that the movie was made at all. In particular, the two companies' properties had to share exactly the same amount of screentime, which is so smoothly integrated that you'd never notice unless you're looking for it.
The film's audio commentary reveals a delicious point: Never do you see Doom blink. Christopher Lloyd came up with the idea and they loved it as it turns out Doom's "eyes" are just fakes to cover up his Toon form. Just try to go several minutes without blinking and see how hard it is.