When the boy band Du Jour mysteriously disappears after a supposed plane accident, their manager Wyatt Frame sees a golden opportunity. He’s on the hunt for the next big thing to sell to the eager teen market. His search leads him to a struggling girl rock band in a small town, and without even hearing them play, he offers them a deal. In a whirlwind transformation, the band is styled, dressed, and ready to record within hours. Just a week later, they skyrocket to number one, attracting hordes of screaming fans and an inexplicable urge among those fans to buy products they never cared about before. However, Josie, the band’s namesake, begins to notice oddities in their sudden fame, sparking questions that the record label would rather she didn’t ask.
The humor in “Josie and the Pussycats” is decidedly silly, which permeates the entire film. While it flirts with sharp satire, it doesn’t quite reach the insightful depths it could have. This is largely due to the source material – the targets are inherently easy. Pop music, in many ways, already parodies itself, making the satire feel more on-target than truly cutting. The overall tone leans heavily into teen comedy territory rather than biting satire, creating a somewhat confusing mix that might deter some viewers. Despite this tonal ambiguity, the film remains quite enjoyable. It’s amiable, self-aware, and genuinely funny at various points. While it might not break any new ground and could be seen as lightweight, it’s refreshing to see a teen movie attempt something more than just catering to the lowest common denominator of its audience, even if it only goes partway.
The cast suggests a level of ambition beyond typical teen fare. Parker Posey, for instance, is not usually found in just any teen comedy. The three lead actresses are all commendable, embracing the silly mood while also being in on the joke. Rachael Leigh Cook anchors the narrative effectively as Josie, even if she’s perhaps the least overtly comedic of the trio. Tara Reid shines in a classic ditzy role, bringing consistent smiles, and Rosario Dawson is as captivating as ever, delivering a thoroughly enjoyable character. Alan Cumming contributes to the film’s silliness with an intentionally over-the-top performance, which some might find grating. Posey, on the other hand, manages to be both daft and impactful in her role. The supporting cast largely understands the comedic tone, and the celebrity cameos, particularly Carson Daly and Eugene Levy, effectively send themselves up. A surprising standout is Missy Pyle, who is often considered underwhelming but delivers a strong performance here.
In conclusion, “Josie and the Pussycats” is a curious blend of pop satire and teen movie conventions. This combination results in a predominantly silly tone, which might not appeal to everyone. The easily satirized targets within pop culture also blunt the satirical edge to some extent. However, for those who appreciate light-hearted humor and self-aware teen comedies, it offers a refreshing watch. The humor lands well, the cast is clearly invested and having fun, and despite its shortcomings as a groundbreaking film, it’s certainly worth revisiting for its unique and enjoyable silliness.
