Among many other things about Josie & The Pussycats, the soundtrack STILL slaps.
Many of these pieces were written by women who had grown up watching the film, and felt that their tastes had been discounted and disregarded. In that sense,acts as yet another case study proving the importance of a diverse critical body, and that a film’s impact isn’t always immediate. opens with a twist. The first people we meet aren’t Josie and her friends, but Dujour, a boy band modeled after N’Sync and The Backstreet Boys.
But beyond that, the movie has modern appeal. It’s genuinely visually pleasing. Every one of the Pussycats’ performances has the glossy look of a really good music video. It was shot by Matthew Libatique, a cinematographer who would later work on Bradley Cooper and Lady Gaga’sand is a frequent Darren Aronofsky collaborator. The costumes, designed by Leesa Evans , are fantastic bursts of color and patterns, richly saturated and so, so covetable.
Mimicking the very capitalist excesses they’re mocking, Kolben and Elfont hilariously pepper every scene with brands. Josie’s hotel room is full of Revlon logos, while Val sleeps on a Target duvet. The Dujour jet is sponsored by Bounce. Squint, and you’ll spot references to American Express, Apple, Ivory soap, Hostess, Bebe, Coke, Diesel, Steve Madden, Ray-Ban, Ford, Krispy Kreme, Bloomingdale's, Starbucks, T.J.
None of these brands paid the filmmakers for product placement. Still, the satire was lost on many critics, who appeared to think the film was playing into the very thing it was trying to criticize. “The concept is so hypocritical, it's like Britney Spears calling Christina Aguilera underdressed and overexposed,” Susan Wloszczyna wrote in her
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