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Julie and the Cadillacs (1999)

 |  Music, Romance
5.5
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Set in the 1960s, Julie and The Cadillacs, a struggling young pop group, are enticed to London and signed up by London PR men Adam Schneider and partner Phil Green, but things aren't plain sailing for Julie.

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Title: Julie and the Cadillacs (1999)

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Cast

Credited cast:
Tina Hall ...
Julie Carr (as Tina Russell)
Ben Richards ...
Mike Williams
...
Phil Green
...
Cyril Wise
...
Barbara Gifford
Thora Hird ...
Julie's grandmother
James Grout ...
Mr. Watkins
Mike Berry ...
Mac MacDonald
Rest of cast listed alphabetically:
William Adams ...
Ian
Roger Alborough ...
Joe Tex
Brierly Arnell ...
Coffee bar person
Adam Astill ...
Gus
Vicci Avery ...
Coffee bar person
Helen Baker ...
Shirley
Karen Barnes ...
Coffee bar person
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Set in the 1960s, Julie and The Cadillacs, a struggling young pop group, are enticed to London and signed up by London PR men Adam Schneider and partner Phil Green, but things aren't plain sailing for Julie.

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Music | Romance

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was on the shelf for two years before release. See more »

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User Reviews

 
Vies for the worst film of all-time
16 April 2002 | by (London, UK) – See all my reviews

J & the C is a film of quite extraordinary tackiness. Had the film's marketing department (if there was one) been imaginative enough, they would have labelled the film as "Britain's answer to Grease". Lucky for the British they didn't, because this is a badge of shame for everyone associated with it. I feel ashamed, and I only watched it.

The plot is painfully contrived, the characterisation awful, the acting worse than your local am-dram society performance of Oliver! (with the exception of Thora Hird's 30-second appearance) and the songs... oh, the songs.

I attended the premiere of J & the C in London's Haymarket. Before the film started I developed a sincere feeling of dread that the derivative, inane tunes the cinema was playing over its sound system might be the soundtrack to the film. It couldn't be, I thought. Surely not.

Bad as the songs were to listen to, however, they were even worse to watch, thanks to the teeth-grindingly bad choreography and ghastly expressions on the singers' faces. Seeing as these songs were the film's selling point, it's a marvel that the producers managed to find any funding at all.

If there is any enjoyment to be had from this film, it could only be in an ironic sense. In any case, it is unlikely that it will ever be seen again by anyone, and remains only as a monument to the follies of the British film industry.


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