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First of all - this is not a meaningful movie. But it wasn't meant to be. I hate it when I hear critics slam a movie mainly because it doesn't fit into their favorite "Type" of movie. Some movies are made to sit through wincing - leaving you sore emotionally and some are light silly goofball creations that wont change the world, but sure are nice to just zone out with.

This movie will never turn Roger Ebert's crank...its silly and goofy and irrelevant....Its also over time revealing itself to have been at the time...subversive. This movie has a lot of little things about it that are becoming more relevant as the years wear on...

When this first came out I thought "An alright movie with catchy songs" This was before I myself got involved in the Music industry. After living through three bands and two contracts over ten years I would like to say this movie isn't as unrealistic as you may think. It is still a spoof, but close enough to reality to warrant another look. Originally waved away as being pure fluff I now find this movie creepily prophetic.

Since this movie was made we have witnessed the fall out of bands like Back street boys the breakdown of pop-stars like Brittany Spears and a slew of young actors & actresses separated from family & friends whose entire personalities have been written and designed by stylists and are seen battling like some weird "Fashionista" roman gladiators under the tutelage of sycophants and managers.

Media/pop culture, with its out of control emphasis on looks and weight over talent and personality, have resulted in actual government legislation regarding model weights and rampant anorexia amongst young starlets.

Musically there has been a huge increase in management interference (listen to Pink's first album regarding the pressures placed on a young singer to conform to a label's Vision) dictating how the artists shall look and act. If it hadn't been for the internet download revolution of Lime wire and such I think the Music industry would have happily continued to control what consumers were ALLOWED to buy and ALLOWED to see...

This movie was also made prior to the outing of "gay" boy band members Stephen Gately, Lance Bassit, Jordan Knight but the top selling song for the Boy Band "Du Jour" in this movie is the most homo-suggestive song I've ever heard. (Is it really called "In Through Your Back Door"?)

After all this fallout, the world of Josie & the Pussycats seems much less stupid to me.

Again...Not deep, but possibly prophetic...and fun to watch Just don't expect to feel moved. Its popcorn at its best - light and salty, not really a meal...its a snack and as that type of movie...shouldn't't be judged solely for its nutritional value... I'd rate it a 7

I never saw the original cartoon but decided to pick up 2001's "Josey and the Pussycats" because Tara Reid's such a cutie and it looked like some fun entertainment.

Yes, it's fun and the girls are attractive (also featuring Rachael Leigh Cook & Rosario Dawson) but, surprisingly, "Josey and the Pussycats" shoots for something deeper. As my title blurb points out, this is an amusing and potent satire on the power and manipulation of the entertainment industry.

Alan Cumming is outstanding as the villainous band manager who uses, abuses and throws away at whim. His opening scene with the fictional boyband Du Jour is worth the price of admission! Parker Posey is also good as his diabolical superior.

Ever wonder why all those musicians die in mysterious plane crashes, overdoses, etc. at the height of their fame? How about all those successful government cover-ups? How do artists with little actual talent and songwriting abilities become hugely popular while the truly talented artists languish in obscurity (like Meliah Rage)? Why do you sometimes have this insane drive for a Big Mac or Coke? "Josie and the Pussycats" explains all, lol.

As for the doofuses who complain about the product placement, they all live on Aduh Street.

The film runs 98 minutes.

GRADE: B

I never saw the original cartoon or read the comics on which it was based, but "Josie and the Pussycats" (2001) is fun and the three protagonists are attractive & enthusiastic (Rachael Leigh Cook, Tara Reid & Rosario Dawson). Yet the movie shoots for something deeper as this is an amusing and potent satire on the influence and manipulation of the entertainment industry.

Alan Cumming is outstanding as the villainous band manager who uses bands, abuses them and throws them away at whim. His opening scene with the fictional boyband Du Jour is worth the price of admission. Parker Posey is also good as his diabolical superior. Curvy and towering Missi Pyle is also on hand as Alexandra.

Ever wonder why all those musicians die in mysterious plane crashes, overdoses, etc. at the height of their fame? How about all those successful government cover-ups? How do artists with little actual talent and songwriting abilities become hugely popular, usually overnight, while the truly talented artists languish in obscurity? Why do you sometimes have this insane drive for a Big Mac or Coke? "Josie and the Pussycats" explains all, lol.

As for those who complain about the product placement, they all live on Aduh Street.

Unfortunately, the great set-up of the first hour sorta peters out in the last act. It's okay, just not up to the quality of the first two acts, as far as compelling writing goes.

The film runs 98 minutes.

GRADE: B

Do not go to this movie expecting anything that's logical or realistic. It is a purely fun film with a rocking soundtrack.

Viewers who would most appreciate this would be the ones who have at least a vague memory of the television cartoon series because there are a lot of jokes and references that might go over one's head otherwise--not to say that kids wouldn't enjoy it as well, because they will.

There's a lot going on in this film. So much happens so fast, but that is intentional. It is highly visual, and the style almost seems like a cross between Steven Soderbergh and Tim Burton, of course with a lot more pink and glitter. The images literally pop out at you at times. And while the plot is somewhat contrived, you might not mind too much because it speaks so clearly to our current culture.

The parody of Boy Bands and Pop-Star Girls is dead-on and that's why this is such a guilty pleasure. You can appreciate how they are made fun of and enjoy the characterizations at the same time. And all the performances are first rate--from the cameo performances by Breckin Myer and Seth Green as members of the Boy Band "Dujour", to leads Rachel Leigh Cook and Tara Reid as Josie and Melody, to the supporting players, particularly Alan Cumming and Parker Posey as the record executives. Also look for cameos by Carson Daly and Ken "Babyface" Edmonds.

Rosario Dawson as Valerie makes quite an impression. Her strong but anxious portrayal helps set up the classic conflict of female friendship vs. "diva-like" fame--a conflict we've seen played out over and over again in many VH-1 "Behind the Music" episodes.

All in all, this is a film you'll enjoy upon first viewing and maybe even more with repeated viewings. If anything, you'll be dancing out of the aisles as you head home.

Pretty decent feel-good movie. Superb soundtrack, talented cast. Not a disappointment at all. Lots of energy in the young cast, humorous laid- back script, and good message.

Humorous at certain points and worth watching if your a teenage girl, or especially if you like all the conspiracy theory stuff =)

Is meaningful in that it puts emphasis on importance of certain things in our lives, leaves you wanting to download the track and has a light hearted attempt at portraying messages to young people without the boring political side.

Josie and the Pussycats is lively and funny at points. I would recommend this movie to anyone who likes movie's like Mean girls, Legally Blonde etc as it is humorous and meaningful, without being overly politically correct.

And the music business in general. But it still remains a « product of its time » which makes it acerbic tone lose relevance I think. It's the kind of movie where actors seem to have had a great time shooting, and this kind of saves it in a way. The original songs are good, and looking back, I wish the worst thing about « entertainment », was trying to manipulate people into consuming rather than NOT thinking for themselves about important issues. Even when you're a grown adult... That's probably the biggest issue I have with this movie now, they make it sound like consumerism is the source of all evils (when there are far worse things to worry about now) all the while relying on that to make it as appealing (and commercial) to (then) teenage viewers as possible... I'm also ashamed to admit it, but I too thought of « Spice World » (and Austin Powers to some extent) rewatching this after all this time, but for all that it's not a bad thing. And that scene at the music store made me really nostalgic... That said, it's still miles better than anything the Riverdale series did with those characters.

THIS IS A CULT CLASSIC UNDISCOVERED GEM. Amazing songs, hilarious 2001 style, and a goofy Zoolander-type industry spoof with DIVERSE WOMEN as the leads????? Um, okay I get why it wasn't a critical hit but come on, this is FUNNY. Missi Pyle, Parker Posey and Alan Cumming are all hysterical and I quote this movie all the time with my friends. Do not watch this thinking it will change your life. But I guarantee you, if you actually give it a chance, it will make you LAUGH. And that's better.

It didnt do too well at launch because it was unfairly compared by Ebert as a Spice Girls movie clone. Unfair and damaging. He was nearly 60 - this wasn't a film for him and he didn't have the foresight this film had to see where teenage pop culture was going. Watch this now and you think - "how did they know?" - the tongue in cheek parody of the music industry and teen marketing is amusingly encapsulated in a film with good rock tunes and a stereotypical fun, teen storyline.

I think this film failed because people thought it would be more loyal to the comic / cartoon but it tried to be a bit more clever than that. Sadly, the audience at the time were not ready for that. Look at comic to movie executions and you see the same sarcasm and self deprecation that this exudes.

Also, Rachel Leigh Cook, Tara Cook & Rosario Dawson do a grand job as the leads and Alan Cumming hams it up wonderfully.

Also - DuJour - on the money.

Okay, so:

1. It comes very close to being the thing it satirizes.

2. The ending stretches credulity like a bungee cord over a sumo wrestler.

3. That guy who plays Josie's boyfriend looks like James Spader. A lot like James Spader. It's actually pretty creepy.

4. Every mug and smirk of Alan Cumming and Parker Posey scream "WE'RE SLUMMING!!!"

But on the other hand:

1. While the Tara-Reid-brains-Carson-Daly scene would have been overly cutesy had they not subsequently broken up, now it's actually pretty funny.

2. I keep hearing that "3 Small Words" song in my head. And not in a bad way.

3. Rachel Leigh Cook shows every sign of actually being a pretty good actress.

4. The fake boy band, especially Seth Green and Breckin Meyer, are a closeted, faux-homeboy hoot. Listen to the lyrics to their song "Backdoor Lover" during the closing credits. I dare you.

I can't believe this movie was made in 2001. It seriously has a sense of humor that feels so modern. You can just picture the memes and gifs that would come from this nowadays.

Anyways, the plot is absurd, but pretty funny. The music is catchy. The characters are ridiculous and the villains are amazing. Only thing that holds this back from being a perfect movie is Tara Reid. They needed a smart actor to play someone so dumb, but, you know, it's just Tara Reid being Tara Reid..

Josie (Rachael Leigh Cook) is the lead singer and guitarist for the all girls rock band, as depicted in the Archie comics. They are mocked by fellow students, despite being quite talented. No has discovered them, its true, but things can change. A deceptive and evil record producer needs new blood and orders an underling to find some fresh faces. Naturally, Josie's group practically falls into his lap. They are signed and touted everywhere. But, is this the real thing or is the mother of all exploitation plots being hatched? Will Josie and the girls stay sweet and unjaded by their fame? What a fine and fun film this is! Girls will love it, yes, and the guys will love the chance to see three beautiful gals on celluloid. Tara Reid is very, very funny as the slightly dense rocker and Cook is a joy as the talented and pretty leader of the group. Parker Posey and Alan Cummings are terrific as the evil music executives and they appear to be having a ball oozing bad vibes. The costumes, needless to say, are just what a fashion loving female would admire. There is a love story, too, for those who beg for tale of romance. Then, too, the three young rock stars are very good role models for the younger set. Ladies, whatever your age, try to spend a bit of time with Josie and company. The laughs are infectious while the sweetness-versus-evil plot is guaranteed to provide a venue to help you forget your worries and make you smile, smile, smile.

Based on the comic-book characters first introduced in the "Archies" series, Josie, Val and Melody are three rockin' small town girls who want to taste big-time success on the pop charts; enter a nefarious (and comically ridiculous) talent scout named Wyatt Frame and soon the Pussycats are on their way. Watching this live-action version of the early-'70s animated Saturday morning TV series from Hanna-Barbera, I couldn't help wondering whether screenwriters Deborah Kaplan and Harry Elfont even saw the show or perhaps held it in such disdain that they avoided it completely. Their script is (more or less) a satirical comment on the teen-oriented pop music craze of 2001 (with "intentionally funny" product placements); however, the TV-counterpart was about the personalities involved, which in turn made the band's adventures on the road more engaging. This "Josie and The Pussycats" is trendy and fluffball-friendly (it really wowed them over at the Teen Choice Awards), with villains--the overacting Alan Cumming and Parker Posey--coming off like leftovers from "Hudson Hawk". True, Hanna-Barbera's version wasn't exactly wicked with wit, either, but at least it moved. Kaplan and Elfont, who also co-directed, can't get their picture off the ground, and many viewers won't make it through the final 15 minutes, which is torturous. *1/2 from ****

A pretty generic film adaptation of the comic book, but with several standouts in the cast and a few nice moments. I loved Rachael Leigh Cook, Rosario Dawson, and Parkey Posey in this, each of them with such strong screen presence. Tara Reid is saddled playing a stereotypical ditzy blonde character, so was harder to like, even if the scene with then boyfriend Carson Reid was amusing. There are several other tropes afoot, like the guy who finally realizes he's been in love with his friend all along. The messaging in the film relates to consumerism, conformity, and the evils of the recording industry, but its undercut by its bland script, which isn't as clever as it thinks it is. We see a barrage of product placement throughout the movie, ostensibly a part of the meaning of the film, but it could have avoided becoming a parody of itself by making all of those fictional products. The "subliminal messages in rock music" plotting also strangely echoes conservative fears from days gone by. There was potential here, but it all ultimately felt as packaged as what it was satirizing. Loved the blooper reel at the end though - all films should include these.

This movie was definately "eye candy", but once you've got the initial sweet taste it turns stale. I'll admit that some of the scenes were somewhat funny and the music was quite good. I've seen the comics it was based on & I did'nt much like them either. As a music video this is a must see, as a movie this is a must not. I rate it a 1/2 paw.

It's not overly good.

In fact, it's kind of like the Spice Girls Movie...only about a thousand times better...which makes it about as good as your standard direct-to-video sci-fi film.

Only with Rachael Leigh Cook which, if you were like me, you were absolutely in love with her and, as a result, you watched it a heck of a lot more than you would even the best direct-to-video Sci-Fi film.

So you have a plot about subliminal messaging that would fit better in a '60s era Bond film than a movie like this...except, today the plot and the movie work a heck of a lot better than they did in 2001 when it first came out.

In fact, when it was released it really deserved a 4/10 tops and that was really only "I'm in Love with Rachael Leigh Cook" points.

Now, in 2017 it actually deserves a 7/10 it is a much better and more relevant movie today than when it was first released.

Unfortunately that's not saying anything about the quality of Josie and the Pussycats, it's still really just a better version of the Spice Girls Movie...It's really just saying a heck of a lot about the movies of this current era in Hollywood that even changes the relevance of the film.

So, there you have it. The bottom line is, Rachael Leigh Cook is awesome, most movies in 2017 kind of really stink, and if you loved the Spice Girls Movie this is going to be like Citizen Kane for you.

i love alam cumming. i love parker posey. i love rosario dawson. i love gabriel mann. i love spoofs of boy groups. i love all-girl bands.

i really wanted to love this movie. i had heard only bad things about it, but since "the mummy returns" was sold out, and i was still in the mood for mindless fun, i got a ticket to see "josie and the pussycats." it started off great, and i enjoyed dujour, the spoof of boy groups. i enjoyed seeing the all too real frustration of starting out as a band and playing horrible shows that no one goes to.

and then after that, when the "plot" decided to kick in -- it was horrible. i laughed at things, but i can't remember any of them. towards the end i was just waiting for the movie to end, and it took its sweet time.

i realize that the product placements were there for a reason, to point out how ubiquitous they are, and how we're used to them. but this was so in your face your couldn't help but become nauseated. so yes, friendship before fame. right. good point.

i just wish for tara reid to stop acting and for rachel leigh cook to *start* acting, cos it seems that she keeps playing the same incredibly bland and supposedly smart characters.

feh.

two stars out of ten.

This is a movie that satirizes today's pop culture, and does a brilliant job of it. The cast and musical score are excellent and all of its jokes are funny and well placed. People say that the movie becomes what it is making fun of. Well, isn't that the idea? The movie is packed with about a billion logos appearing everywhere you look in the background, and a scene with an audience of cardboard cut-out celebrities. These are there to add to the atmosphere of the film. This movie is very strong, very well done, and has a real sense of humor. To top it off, it's led by a band with music that's so good you can't even tell they're not real. If you haven't seen it, go watch it. I'd recommend buying the soundtrack as well.

The comics and short-lived cartoon series were cute and the characters, well, Josie and the Pussycats are cute also. But really, what else is there? Unfortunately, Josie and the Pussycats - the movie suffers from the lack of an important element in a movie - a decent story.

Writers/directors Harry Elfont and Deborah Kaplan had hoped to make a satire poking fun at the pop music industry, trend-conscious teens and commercialization of America but the result was a movie that seemed pieced together by paper cut-outs of advertisements and Starbucks coffee cup holders. The problem with Josie and the Pussycats is that the premise of the movie is too simplistic and basic with major work required before it can be turned into a movie script. The government is involved with a major record label to brainwash American youth with subliminal messages to encourage consumption and create trends. That's your entire story, stretched paper-thin into a feature-length movie.

I know that Josie and the Pussycats is a ridiculous adaptation of a silly comic strip. I know the jokes are dated and its look is firmly trapped in the 2000s. Despite all that, I enjoy watching this movie. It still makes me smile & laugh. I think the cast had a blast making this movie, and it shows. The songs are a lot of fun, too. It's not great cinema, but it's the kind of absurd amusement I need every now and then.

I expected nothing from this film and got a whole lot more.

What a blast! I laughed, I rocked, I had a great time. I'm already a big Rachel Leigh Cook fan ("She's All That" was the best teen film I've seen - possibly ever, and I'm one of the few who thought Stallone's "Get Carter" was terrific) and now I'm an even bigger fan. She was cast purr-fectly as Josie.

And I can't say I like the director/writer's previous works, but this is an exceptionally well-written script and very witty.

Alan Cummings is fantastic (also a "Get Carter" alum) as the scummy rock promoter. He and Parker Posey put in memorable performances. What's there to not like about this film? The soundtrack ROCKS and Tara Reid as Melody is great (love the shower scene!) Loosen up, get down, and enjoy this. (I still can't get that song "Pretend to Be Nice" outta my head- buying the soundtrack now!)

Someone once asked me why I thought so many rock stars were left-wing, and I cynically replied that, as their target audience consists mostly of the more idealistic members of the younger generation, protesting against greed, acquisitiveness and the materialism of the capitalist system is a great way to make money. Films like this one, a satire directed at the record industry, consumerism and the capitalist system in general, tend to inspire me with a similar cynicism. I am generally suspicious of anti-materialist or anti-capitalist satire emanating from Hollywood, an institution which lives and dies by free-market principles and which is always readier to preach the virtues of thrift, frugality and glad poverty than to practise them. Whenever film-makers rail against Big Business, there is generally a good business reason for them to do so.

"Josie and the Pussycats" started life as a strip cartoon published by Archie comics. I can't say that I'm really familiar with it, but I do recall the television cartoon from my childhood in the seventies. It was about an all-female rock band made up of three girls with contrasting hair colours and equally contrasting personalities, Josie (vocalist/guitarist, redhead, sensible and practical), Valerie (tambourine, brunette, headstrong) and  Melody (drums, blonde, sweet- natured but a bit dumb).

This film is loosely based upon the comics and the cartoons. The basic idea is that a corrupt record label, MegaRecords, is brainwashing teenagers to buy their records, and many other products as well, by putting subliminal messages under the music. If any of the musicians discover what MegaRecords are up to, they have to be disposed of. In the opening scenes we see Wyatt Frame, a MegaRecords executive, arranging for the members of Du Jour, the label's biggest boy band, to meet their deaths in a plane crash because they have started asking too many awkward questions.

This, however, leaves Wyatt with a problem; MegaRecords now need a new group to replace Du Jour. In the small town of Riverdale Wyatt finds a hitherto unsuccessful girl band, the Pussycats, persuades them to accept a lucrative record deal, and propels their first single to the top of the charts. Which leaves just one question. What will happen when the Pussycats discover (and, of course, they invariably will) just what Wyatt and his boss Fiona are up to?

Satire, in the cinema or in any other medium, needs something more than just a target to attack. The film never generates a lot of humour, and the characters are all pretty unmemorable. Neither Josie nor Valerie emerges as a well-defined personality. There is some attempt to make Melody a simple-minded airhead like she was in the cartoons, a characterisation owing something to popular prejudices about blondes (and possibly also to pop music's prejudices about drummers). In the cartoon, however, Melody may have been a dumb blonde, but she also had a lovable sweetness about her, something that does not really come over in Tara Reid's interpretation. Reid, in fact, struck me as miscast; she is several years older than her co-stars Rachael Leigh Cook and Rosario Dawson, and I felt that the film would have worked better with a younger Melody, playing her as a naively innocent teenager as opposed to the more worldly twenty-something Josie and Valerie.

Several other characters from the cartoon, such as the Pussycats' laid- back upper-class manager Alexander, his obnoxious sister Alexandra and Josie's boyfriend Alan are imported into the film, but they all play minor supporting roles and it is clear that they are only there because fans of the original would have been disappointed had they been omitted. (And whatever happened to Alexandra's cat Sebastian?) Wyatt is a very one-dimensional character, an effete long-haired fop who speaks in the sort of fruity upper-class British accent that the British upper classes largely abandoned several decades ago.

Worse, though, than the film's poor characterisation and the low standard of its humour, is its hypocrisy. Two big Hollywood giants like MGM and Universal are not really in a position to start throwing stones at the record industry or anyone else when it comes to accusations of manipulating public opinion or subliminal advertising, especially in these days when film studios and record labels are often part of the same commercial conglomerates. The blatantly obvious product placement with which the film is littered was probably intended as an ironic in- joke, but to my mind it tended to undermine the film's ostensibly anti- consumerist message.

I said earlier in this review that protesting against greed, acquisitiveness and the materialism of the capitalist system is a great way to make money. Except in the case of "Josie and the Pussycats" it wasn't. The film actually made a loss at the box office, possibly because its target audience were more aware than the film-makers hoped of the essential contradiction in its position. Or possibly because it's just not a very good film. The moral of the story is not so much "Don't trust what the capitalists tell you" as "Don't trust what anyone in the entertainment business tells you- even when they're telling you not to trust what someone else in the same business tells you!" 4/10