Popularity: 4 (history)
Director: | Tom Hooper |
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Writer: | Tom Hooper, T. S. Eliot, Lee Hall |
Staring: |
A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life. | |
Release Date: | Dec 19, 2019 |
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Director: | Tom Hooper |
Writer: | Tom Hooper, T. S. Eliot, Lee Hall |
Genres: | Comedy, Fantasy, Drama |
Keywords | dance, cat, musical, based on play or musical, resurrection, based on song, poem or rhyme, vignette, pathetic, so bad it’s good, disapproving, disheartening, ridiculous |
Production Companies | Universal Pictures, Amblin Entertainment, LW Entertainment, Working Title Films, Perfect World Pictures, Monumental Pictures |
Box Office |
Revenue: $77,276,321
Budget: $95,000,000 |
Updates |
Updated: Feb 01, 2025 (Update) Entered: Apr 13, 2024 |
Name | Job |
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Melanie Oliver | Editor |
Tom Hooper | Director, Screenplay |
Warwick Drucker | Key Grip |
Paula Casarin | Script Supervisor |
Sharon Martin | Makeup Designer, Hair Designer |
Niamh O'Loan | Hairstylist, Makeup Artist |
Nuria Mbomio | Hairstylist, Makeup Artist |
Sara Menitra | Hairstylist, Makeup Artist |
Lesley Hooper | Hairstylist, Makeup Artist |
Charlotte Hayward | Hairstylist, Makeup Artist |
Carmel Jackson | Hairstylist, Makeup Artist |
Giles Keyte | Still Photographer |
Catherine Bensley | Casting Assistant |
Cecile Tournesac | Music Editor |
Jed Loughran | Sound Designer |
Mark Appleby | ADR Mixer |
Victoria Freund | Assistant Sound Editor |
Prakash Goyal | VFX Artist |
Oliver Ferris | Foley Artist |
Andrew Lloyd Webber | Original Music Composer, Musical, Songs |
David Mackie | Sound Effects Editor |
Ben Chick | Foley Editor |
Sue Harding | Foley Artist |
T. S. Eliot | Lyricist, Author |
Christopher Ross | Director of Photography |
Ketan Waikar | Art Direction |
Uxue Laguardia | Hairstylist, Makeup Artist |
Rebecca Tredget | Costume Coordinator |
Nick Fulton | Unit Production Manager |
Tom Weaving | Supervising Art Director |
Jo Burn | Unit Production Manager |
Matt Sharp | Art Direction |
Rebecca Pilkington | Assistant Set Decoration |
Mark Clayton | Gaffer |
Ben Howarth | First Assistant Director |
Kirstin Hall | Visual Effects Supervisor |
John Warhurst | Supervising Music Editor, Supervising Sound Editor |
Greg Bradlaugh | Assistant Art Director |
Craig Price | Property Master |
Oliver Loncraine | "C" Camera Operator |
Ben Brown | First Assistant "B" Camera |
Jason Billington | Visual Effects Supervisor |
Matt Jacobs | Visual Effects Supervisor |
Michael Minkler | Sound Re-Recording Mixer |
Rupert Smith | Visual Effects Producer |
Joanne Ridler | Standby Art Director |
Iain Mackay | "B" Camera Operator, Steadicam Operator |
Emiliano Topai | First Assistant "A" Camera |
Alex Finlayson | Second Assistant "B" Camera |
Paul Dimmer | Special Effects Supervisor |
Sharon Day | Hairstylist, Makeup Artist |
Magdalena Janusinska-Surma | Hairstylist, Makeup Artist |
Freya Evans | Production Secretary |
Olivia Grant | Casting Assistant |
Victor Chaga | Music Editor |
Luke Gentry | Sound Effects Editor |
Sophia Hardman | Foley Editor |
James Shirley | Assistant Sound Editor |
Jane Karen | Dialect Coach |
Phil Brennan | Visual Effects Supervisor |
Jessica Norman | Visual Effects Supervisor |
Mike Dowson | Sound Re-Recording Mixer |
Alex Anstey | Associate Editor |
Susannah Brough | Assistant Art Director |
Esther Venanzi | Second Assistant "A" Camera |
Max Glickman | First Assistant "C" Camera |
Kate O'Farrell | Costume Supervisor |
Debbie Scott | Assistant Costume Designer |
Vicky Bishop | Production Coordinator |
Emily Brockmann | Casting Associate |
Paula Hind | Transportation Captain |
Kutay Cengil | VFX Artist |
Reetu Aggarwal | 3D Artist |
Lee Hall | Screenplay |
Eve Stewart | Production Design |
Taylor Swift | Lyricist |
Trevor Nunn | Lyricist |
Vladyslav Driuchyn | Digital Compositor |
Lucy Bevan | Casting |
Paco Delgado | Costume Design |
Simon Hayes | Production Sound Mixer |
Becky Bentham | Music Supervisor |
Jo McLaren | Stunt Coordinator |
Michael Standish | Set Decoration |
Sami Fendall | Art Department Assistant |
Damon Sewell | Camera Trainee |
Greg Wells | Executive Music Producer, Musician |
Name | Title |
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Jo Burn | Executive Producer |
Ben Howarth | Co-Producer |
Angela Morrison | Executive Producer |
Sarah-Jane Robinson | Co-Producer |
Tim Bevan | Producer |
Eric Fellner | Producer |
Debra Hayward | Producer |
Tom Hooper | Producer |
Andrew Lloyd Webber | Executive Producer |
Liza Chasin | Executive Producer |
Organization | Category | Person |
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Popularity History
Year | Month | Avg | Max | Min |
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2024 | 4 | 27 | 53 | 16 |
2024 | 5 | 33 | 68 | 19 |
2024 | 6 | 28 | 41 | 17 |
2024 | 7 | 23 | 37 | 12 |
2024 | 8 | 27 | 59 | 13 |
2024 | 9 | 15 | 22 | 10 |
2024 | 10 | 18 | 41 | 12 |
2024 | 11 | 15 | 20 | 10 |
2024 | 12 | 15 | 19 | 11 |
2025 | 1 | 18 | 47 | 10 |
2025 | 2 | 11 | 18 | 3 |
2025 | 3 | 6 | 19 | 1 |
2025 | 4 | 3 | 8 | 1 |
2025 | 5 | 3 | 9 | 2 |
2025 | 6 | 3 | 5 | 1 |
2025 | 7 | 2 | 3 | 1 |
2025 | 8 | 2 | 3 | 1 |
2025 | 9 | 4 | 4 | 3 |
Trending Position
Year | Month | High | Avg |
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2025 | 1 | 589 | 640 |
Year | Month | High | Avg |
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2024 | 12 | 923 | 923 |
I was always excited for ‘Cats’, and to learn about it as a musical fan. The first trailer made me more excited, because seeing those god-awful effects only made me want to see it more. I always get excited for big-budget musicals because it means we could get more, but ‘Cats’ just fails on every le ... vel. It’s a boring musical with forgettable songs and uninteresting choreography... and then it also fails as a bad film, since it offers no batshit fun. Poking fun at the CGI is all well and good, but you can do that from the trailer, so there's no point being bored for two hours during this holiday season. Meow, that hurt indeed. - Chris dos Santos Read Chris' full article... https://www.maketheswitch.com.au/article/review-cats-no-bad-kitty-no-one-is-the-jellicle-cat
Theatrical plays or musicals will not always translate well into filmic language, that's well known and will not change, because both media are very different by nature. To question it is to deceive yourself. Personally I've never believed that Cats is a great musical but perhaps its success says ... something else but even so a film adaptation in my view just could not work. I didn't see how, especially considering the costumes but it was being made so the question now was how it was going to look. I know there's already a ''movie'' but that's basically a recording of the play. Then the trailers appeared and what they showed looked weird, off putting and scary, but the visual work is not always everything in a movie, yet something decisive was being played here. Eventually the defeat was inevitable. Cats is full of good intentions but it's a failure, not only because of terrible work in CGI and how it makes you feel but because it never manages to immerse you in the world of the story and is a bizarre world and I can have fun in bizarre worlds, it's only that this one is pretty misguided. I don't think it's that huge fiasco that a lot of film critics are saying it is and maybe eventually will find its niche and audience, after all worse films have become cults films, so that can surely happen but right now Cats is simply an idea that didn't work, that it wasn't well executed or directed and that although it's not a monumental catastrophe, it's indeed a gigantic disappointment.
Sometimes a movie struts its awfulness with such glee that it becomes an enjoyably sadistic pleasure rather than a chore to watch. Such is the case with “Cats,” the big screen adaptation of Andrew Lloyd Webber’s 1982 musical that became one of Broadway’s longest-running shows. The stage version o ... f “Cats” has grossed over $4 billion dollars, so of course Hollywood had to get their greedy claws in the mix and bring it to the local cineplex (where it promptly flopped). Anyone with a brain could see that all of this would prove to be a huge mistake, because when the source material is god-awful, how would you expect the film to turn out? Let’s start with the good: the costuming and makeup artistry are both brilliant, if creepy. At first it’s disturbing and laughable to watch humans prance around and groom themselves but it doesn’t take long until you actually start to see them as cats. (And yes, it’s precisely the type of disconcerting feeling that will provide haunting nightmares for years to come). The dancing is beautifully proficient and the choreography creative, with some lovely ballet numbers. Those who enjoy classic theater and dance will find plenty to keep them engaged. That’s where the positives end. The movie’s plot closely follows the Broadway play, which means it’s just as awful. The gist is that a tribe of street cats all gather together on the night of the Jellicle moon and perform in a feline talent show so head cat Old Deuteronomy (Judi Dench) can decide which cat is worthy to ascend to a new life. It’s a creepy story that’s made even more disturbing when you stop and think about it. To keep today’s idiot audiences engaged, director Tom Hooper throws in your standard issue fatty-fall-down slapstick gags and crotch hits that are sure to elicit a tornado of laughter. And although every cast member appears downright terrifying as a human/cat hybrid, the worst is the cameo from Taylor Swift as a sexed-up feline provocateur and purveyor of enchanted catnip. Yikes. Weber’s repetitive songs are even more grating when translated to the screen (but hey, at least there’s “Memory”). The vocal performances are second-rate too. Jennifer Hudson has become a self-parody with her overacting and oversinging. Hudson’s angsty, tear-filled, snot-flying rendition of “Memory” is hilariously awful. Rebel Wilson‘s tap dance feels like an acid trip gone wrong as she trains her army of child-faced mice to dance for her pleasure (as she gleefully bites live cockroaches with human faces in half as they scream for mercy). I’m not sure if anyone should see this movie of their own accord, but it absolutely could have legs as a midnight movie a’la Tommy Wiseau’s “The Room.”
Sometimes a movie struts its awfulness with such glee that it becomes an enjoyably sadistic pleasure rather than a chore to watch. Such is the case with “Cats,” the big screen adaptation of Andrew Lloyd Webber’s 1982 musical that became one of Broadway’s longest-running shows. The stage version o ... f “Cats” has grossed over $4 billion dollars, so of course Hollywood had to get their greedy claws in the mix and bring it to the local cineplex (where it promptly flopped). Anyone with a brain could see that all of this would prove to be a huge mistake, because when the source material is god-awful, how would you expect the film to turn out? Let’s start with the good: the costuming and makeup artistry are both brilliant, if creepy. At first it’s disturbing and laughable to watch humans prance around and groom themselves but it doesn’t take long until you actually start to see them as cats. (And yes, it’s precisely the type of disconcerting feeling that will provide haunting nightmares for years to come). The dancing is beautifully proficient and the choreography creative, with some lovely ballet numbers. Those who enjoy classic theater and dance will find plenty to keep them engaged. That’s where the positives end. The movie’s plot closely follows the Broadway play, which means it’s just as awful. The gist is that a tribe of street cats all gather together on the night of the Jellicle moon and perform in a feline talent show so head cat Old Deuteronomy (Judi Dench) can decide which cat is worthy to ascend to a new life. It’s a creepy story that’s made even more disturbing when you stop and think about it. To keep today’s idiot audiences engaged, director Tom Hooper throws in your standard issue fatty-fall-down slapstick gags and crotch hits that are sure to elicit a tornado of laughter. And although every cast member appears downright terrifying as a human/cat hybrid, the worst is the cameo from Taylor Swift as a sexed-up feline provocateur and purveyor of enchanted catnip. Yikes. Weber’s repetitive songs are even more grating when translated to the screen (but hey, at least there’s “Memory”). The vocal performances are second-rate too. Jennifer Hudson has become a self-parody with her overacting and oversinging. Hudson’s angsty, tear-filled, snot-flying rendition of “Memory” is hilariously awful. Rebel Wilson‘s tap dance feels like an acid trip gone wrong as she trains her army of child-faced mice to dance for her pleasure (as she gleefully bites live cockroaches with human faces in half as they scream for mercy). I’m not sure if anyone should see this movie of their own accord, but it absolutely could have legs as a midnight movie a’la Tommy Wiseau’s “The Room.”
I don't understand why people reviewed this so badly. Minus James Corden this was a very amusing take on a musical I have always loved. Ian McKellen shined as Gus. Jennifer Hudson made me cry as Grizabella. Idris Elba was purr-fect as Macavity. Judy Dench was the perfect choice for Old Deuteronomy. ... The cast was really good, save for James Corden who grossed me out eating like a pig and hitting wrong notes.
What?! I'll be honest, I didn't like the musical back in the 90s, I thought it was just plain awful and kind of pretentious. But the good news is that this is so much worse. Even Dame Judy Dench doesn't seem to be able to find a footing, and she's a Dame for a reason, she's probably one of the ... greatest living actresses on the face of the earth... and Cats makes her look utterly incompetent. It's a cringe fest from start to finish. And all I can say is that I am so sorry so many talented and respected people had to be in this train wreck.
Ever thought you’d found the worst film in existence, well you were wrong. It’s this. ...