Josie and the Pussycats

United States, Canada

2001

98 Min

Color

1.85:1

English

Currently 2.1/5 Stars.
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DIR Harry Elfont, Deborah Kaplan

EXEC Kenneth 'Babyface' Edmonds, Richard Goldwater, Michael Silberkleit

PROD Tony DeRosa-Grund, Tracey E. Edmonds, Chuck Grimes, Marc Platt

SCR Deborah Kaplan, Harry Elfont

CAST Rachael Leigh Cook, Tara Reid, Rosario Dawson, Alan Cumming, Parker Posey, Missi Pyle, Seth Green, Donald Faison, Eugene Levy, Breckin Meyer

For years, the record industries have inserted subliminal messages into music so that they can turn teenagers into braindead zombies who do nothing but buy, buy, buy. And whenever the musician or band finds out the truth, the record company silences them to keep the truth from coming out. When the hot boy band DuJour discovers this, their manager, Wyatt Frame, under his evil, corrupt boss, Fiona, has the plane they are flying in crashed and him looking for a new band to use for their evil schemes. Enter Josie, the ditzy Melody, and the tough Valerie, from The Pussycats, a small band who wants to make it to the top. When they are discovered by Wyatt, they give in and become big rock stars. But will they find out that they are just pawns for the record industry or will fame take them over? —IMDb

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msmichel

10Jul12

Clever satire of consumer culture manipulation trapped within an 'Archies comics' adaptation. Fun girl power undertones featuring game performances from three leads (Cook never better). Supporting turns from Alan Cumming and the amazing Parker Posey elevate the material. Libatique's cinematography quite striking here as is the song soundtrack written for the film. Ten years plus on message still apt.

HKFanatic likes this

WhatsUpWill

23Sep11

This is a ridiculous satire of the music industry. I like it.

mintghost likes this

i'm just cherry

21Sep11

LOL HOW DOES THIS ONLY HAVE A GENERAL RATING OF 2 STARS

princesa likes this

Polyglot

8Oct11

the haters gonna hate.

Sarah

10Apr11

The greatest social commentary of advertising, media, and culture of our current time -- the portrayal of art as the vehicle for further material consumption opposes the idea of art as being 'real' and 'true;' yet the concluding scenes of the film suggest that these opposing ideas can coexist tenuously, with commercialization threatening the 'trueness' of all art.