---
title: "Cats"
year: 2019
kind: "film"
canonical: "https://film.one/film/cats"
fi1m_score: 38
critics_score: 37
critics_reviews: 29
published: "2026-09-16T15:22:20.435173+00:00"
updated: "2026-09-16T15:22:20.623975+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Cats (2019)

Directed by Tom Hooper · 1h 50m · MPA PG · Fantasy, Comedy, Drama

**Fi1m score: 38** · Critics 37 from 29 reviews

*In a sentence:* All those dancers, and we keep looking at the fur

> Tom Hooper’s *Cats* makes its performers work far too hard to be noticed beneath the digital fur. Some singing survives, but the muddled staging and restless cutting leave a poor musical.

## Synopsis

Night streets provide the setting for a gathering of cats, including Victoria (Francesca Hayward), Jennyanydots (Rebel Wilson) and Bustopher Jones (James Corden). Ballet, comic songs and ensemble numbers introduce a company that also includes Old Deuteronomy (Judi Dench), Macavity (Idris Elba) and Grizabella (Jennifer Hudson). Their human faces remain visible beneath digital fur as the performers sing and dance through a theatrical city. Individual turns alternate with group performances, with Victoria’s dancing among the ways the cats express themselves. This is a screen adaptation of the stage musical, with music by Andrew Lloyd Webber.

## Review

*Cats* asks us to accept people singing and dancing as cats, a reasonable enough request from a musical. Tom Hooper makes that acceptance unnecessarily difficult, wrapping the cast in digital fur that keeps drawing attention away from their performances. It is a poor adaptation, with enough talent visible to make the waste frustrating. We would happily accept a much stranger musical if it gave its dancers space and its songs a chance to work.

The effects are distracting because the faces, bodies and surrounding sets never quite seem to belong together. A performer should be able to turn, leap or simply stand still without prompting questions about their proportions. Here those questions keep arriving, and the changing scale makes it difficult to settle into the scenes. We were unsettled by the human faces inside those furred bodies, then bored by how insistently the film asked us to keep looking at them.

Christopher Ross’s cinematography finds something promising in the night streets, where the darkness allows a little theatrical mystery. Eve Stewart’s production design gives those streets detail and makes a case for building a whole film around this company. The sets are worth looking at, even when the digital cats appear awkwardly fitted into them. The effects prevent us from getting comfortable with the size of the performers in relation to their surroundings.

Francesca Hayward, playing Victoria, gives the film a reason to let a dance continue. Her movement is precise and expressive enough to hold attention without constant assistance from the cutting. Melanie Oliver’s editing keeps interrupting the choreography, so that a number becomes a succession of glimpses rather than a performance we can follow. A screen musical can take us closer than a theatre seat, but it still has to let us see what a dancer is doing. Too often, a cut interrupts the movement before we have had time to enjoy it.

Andrew Lloyd Webber’s music fares unevenly: the ensemble lyrics become hard to understand, making an already slight story harder to follow. Jennifer Hudson, as Grizabella, gives ‘Memory’ the concentration missing from much of the surrounding fuss. We were moved by the force and vulnerability of her singing; for once, there was no urge to inspect the effects. Ian McKellen, as Gus, the Theatre Cat, also finds feeling within the artificial appearance. These performances deserve attention for more than surviving an unhelpful setting.

Tom Hooper and Lee Hall’s screenplay gives the numbers too little to connect them, while the direction supplies bustle where a clear dramatic purpose would help. The comic turns from Rebel Wilson as Jennyanydots and James Corden as Bustopher Jones at least offer a change of pace. Their broader playing belongs comfortably enough in a variety show, though it cannot make the succession of songs feel like a developing story. Across 110 minutes, the thinness becomes wearying, particularly when another group number makes the words difficult to catch.

Some viewers may find enough pleasure in the singing and the sheer oddity to forgive the rest. We cannot recommend it on the promise of entertaining failure: long stretches are merely laborious, and the performers’ commitment makes that sadder. There is room in a musical for absurdity, sentiment and a modest story. Anyone coming chiefly for the dancing has particular reason to look elsewhere.

*Fi1m score 38, published 16 September 2026.*

## What the critics say

Most critics find Cats an unsuccessful adaptation, with its digital feline bodies distracting from the performers and musical numbers. Praise clusters around Jennifer Hudson’s rendition of ‘Memory’, Francesca Hayward’s dancing and Ian McKellen’s performance, though even sympathetic reviews acknowledge the thin story. Some also admire the detailed sets and the cast’s commitment, finding occasional pleasure in a film whose appearance draws widespread complaints.

The recurring objections concern uncanny effects, confused scale and direction or editing that prevents the choreography from registering clearly. The spread is wide: Deadline regards the theatrical approach and performances as enough to carry the film, while the Financial Times enjoys its strange atmosphere, choreography and ensemble energy. Critics also disagree about whether the failures provide entertainment of their own. Several find an oddly compelling spectacle; The Ringer dissents from that consolation, judging it too boring to reward fascination with its mistakes.

### Reviews we read (31)

- **Financial Times**, Nigel Andrews (70/100, inferred): The critic finds the film weird and wonderfully erotic yet lands on its feet thanks to terrific choreography and strong turns from several cast members. He singles out the noirish night-street visuals, enhanced leaps and variety-show energy of the ensemble numbers for praise. [Read](https://www.ft.com/content/cd836eb2-2180-11ea-b8a1-584213ee7b2b)
- **RogerEbert.com**, Sheila O'Malley (65/100, inferred): The critic finds the film enjoyable for what it is, praising Jennifer Hudson's powerful performance as Grizabella and Francesca Hayward's graceful dancing as Victoria, while noting issues with the thin story, incomprehensible lyrics in group numbers, and excessive editing that disrupts the dance sequences. [Read](https://www.rogerebert.com/reviews/cats-movie-review-2019)
- **The i Paper**, Nick Hasted (★★★): The critic finds the film a freakily phantasmagoric and sexually charged high-wire act that sustains a hallucinatory theatrical reality true to the musical's spirit, despite a thin story. He praises the cast's yearning performances, especially Ian McKellen, Judi Dench, and Francesca Hayward. [Read](https://inews.co.uk/culture/film/cats-film-review-tom-hooper-james-corden-judi-dench-376711)
- **Vulture** (60/100, inferred): The review portrays the film as an absurd, improbable monstrosity that defies good/bad judgments, praising its sheer existence and occasional bursts of talent like the "Memory" performance while criticizing the chaotic direction and lack of narrative. [Read](https://www.vulture.com/2019/12/movie-review-cats-starring-taylor-swift-and-judi-dench.html)
- **Time Out**, Joshua Rothkopf (50/100, inferred): The critic describes a strange, magical awfulness made with integrity, embracing the weirdness of the material while noting it is sublimely ridiculous overall. The 'Memory' sequence stands out as the one moment that works beautifully and transports even haters. [Read](https://www.timeout.com/movies/cats)
- **The New Yorker**, Richard Brody (45/100, inferred): The review notes the strong cast and elements but criticizes the director for failing to capture the dances and performances effectively, resulting in an off-kilter adaptation with mishandled allegory. It serves as an object lesson in directorial risks. [Read](https://www.newyorker.com/culture/the-front-row/cats-could-have-been-a-contender)
- **The AV Club**, Ignatiy Vishnevetsky (D+): The critic says the film is as bad as the trailer suggests, with hideous digital fur effects on hypertrichotic mutant-like cats and poor execution of the musical numbers and choreography. He singles out the misguided concept, unfinished effects, and failure to capture camp or humanity for complaint, though praising Ian McKellen's performance. [Read](https://www.avclub.com/yes-cats-is-as-bad-as-it-looks-1840497715)
- **Radio Times** (40/100, inferred): The critic finds it a puzzling, nightmarish, bizarre film that is all over the shop yet oddly beguiling, with scenery-chewing turns from Dench and McKellen as highlights amid the demented cat ballet and digital fur. Most viewers should give it a miss unless they are fans of the original musical. [Read](https://www.radiotimes.com/movies/cats-review/)
- **Screen Daily** (40/100, inferred): The critic says it is not quite a catastrophe but isn’t up to scratch, badly cast and broadly directed with a book that has not aged well. The wonderful production design and occasional charm in the music stand out as bright spots amid the missteps and lack of target audience. [Read](https://www.screendaily.com/reviews/cats-review/5145754.article)
- **The Hollywood Reporter**, David Rooney (30/100, inferred): The critic finds the film visually creepy and exhausting due to its misguided digital effects and overproduced style, singling out the inconsistent proportions and monotonous visuals for complaint, while noting some strong performances from dancers and class acts like Dench. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/cats-review-1263550/)
- **The Times**, Kevin Maher (★☆☆☆☆): The critic describes it as a musical mess and nightmare of derivative ditties by tedious kitties. He singles out the lack of plot, monolithic song structure, and overall execution for complaint. [Read](https://www.thetimes.com/culture/film/article/cats-review-a-nightmare-of-derivative-ditties-sung-by-tedious-kitties-2p8k0lb0r)
- **Empire**, John Nugent (20/100, inferred): The critic finds the film bad overall, with no real plot and uncanny CGI, but notes some craft and a kitsch guilty pleasure value in its failure. They single out the bizarre visual design and lack of narrative sense for complaint. [Read](https://www.empireonline.com/movies/reviews/cats/)
- **Evening Standard**, David Sexton (20/100, inferred): The critic calls the film a grotesque, uncanny failure that doubles the absurdity of the stage show, likening parts of it to a horror story nearly as obscene as The Human Centipede. He singles out Francesca Hayward's athletic and erotic performance as Victoria for praise. [Read](https://www.standard.co.uk/culture/film/cats-review-nearly-as-obscene-as-the-human-centipede-a4316976.html)
- **Little White Lies**, Hannah Strong (2/1/1): The critic calls it a disastrous feline musical folly ruined by horrifying CGI cat designs and a director who loses focus on the performers and choreography. Even an ardent fan finds little joy in this ugly, half-cooked adaptation that wastes its cast and source material. [Read](https://lwlies.com/reviews/cats)
- **Sight and Sound**, Violet Lucca (10/100, inferred): The critic finds the jarring adaptation an unwieldy eyesore with poorly executed VFX and uncanny, unconvincing cat designs that destroy the illusion and fail to engage viewers. Some anarchic conceptual appeal is noted in the high-concept mess and ironic casting moments. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/cats-review-unwieldy-eyesore)
- **The Guardian**, Peter Bradshaw (10/100, inferred): The critic calls the film a jaw-dropping feline folly that fully realises the queasy fears from its trailer. He singles out the uncanny CGI visuals, awkward performances, and bizarre design for complaint. [Read](https://www.theguardian.com/film/2019/dec/19/cats-review-tom-hooper-judi-dench-idris-elba-taylor-swift)
- **Variety**, Peter Debruge (10/100, inferred): The critic calls the film a poorly conceived and executed adaptation that is an eyesore and Jellicle catastrophe, criticizing Tom Hooper's tacky interpretation and its failure to capture what audiences love about the musical. [Read](https://variety.com/2019/film/reviews/cats-review-taylor-swift-jennifer-hudson-1203447544/)
- **The Telegraph**, Tim Robey (0/5): The critic calls the film a sinister, all-time disaster and computer-aided hellscape from which no one emerges unscathed. He highlights the unappealing CGI, grotesque performances and overall calamity as the chief failings. [Read](https://www.telegraph.co.uk/films/0/cats-review-sinister-all-time-disaster-no-one-emerges-unscathed/)
- **Los Angeles Times**, Justin Chang: The movie is mostly a horror and endurance test from a neon-drenched netherworld where the ghastly mixes with the tedious, with occasional self-aware hoots. Ian McKellen as Gus and Taylor Swift as Bombalurina deliver stronger performances amid the grotesque design. [Read](https://www.latimes.com/entertainment-arts/movies/story/2019-12-18/cats-review-andrew-lloyd-webber)
- **The New York Times**, Manohla Dargis: Tom Hooper’s movie is not a catastrophe or an epic hairball, though it tampers down the show's strangeness by trying to class it up. James Corden as Bustopher Jones and Rebel Wilson as Jennyanydots provide the best comic numbers. [Read](https://www.nytimes.com/2019/12/18/movies/cats-review.html)
- **Deadline**, Pete Hammond (80/100, inferred): The adaptation succeeds as a highly theatrical version of the stage musical, with strong performances carrying it. Jennifer Hudson delivers a standout 'Memory' and the cast including Ian McKellen, Judi Dench, and Taylor Swift all excel in their roles. [Read](https://deadline.com/video/cats-movie-review-taylor-swift-jason-derulo-jennifer-hudson/)
- **Film Stories**, Simon Brew (60/100, inferred): The critic finds positives in the production design, songbook delivery and committed cast performances but notes the CGI and technical decisions are often distracting and uncanny. It concludes the film is a harmless mess that is entertaining without being a masterpiece. [Read](https://filmstories.co.uk/features/2524-words-about-the-2019-cats-movie/)
- **NME**, Nick Reilly (3/5): The film is weird and occasionally wonderful, far from the predicted car crash; it praises strong performances especially from Jason Derulo and newcomer Francesca Hayward along with improved CGI and detailed sets, while noting the nonsensical plot and some unconvincing moments, but concludes there is unexpected fun to be had. [Read](https://www.nme.com/reviews/film-reviews/cats-review-2588816)
- **/Film**, Hoai-Tran Bui (5/10): The critic describes the film as a bizarre, sincere fever dream with flashes of gonzo brilliance (often accidental) amid disturbing uncanny-valley effects and a ridiculous premise, ultimately finding it neither fully good nor bad but never overcoming its technical and tonal flaws. [Read](https://www.slashfilm.com/571223/cats-review/)
- **Polygon**, Karen Han (45/100, inferred): The review calls the adaptation a fever dream that neuters the musical's strengths in dance, costumes, and songs while barely holding a plot together amid CGI excess. It finds some bright spots in committed performances like Jason Derulo and Jennifer Hudson's "Memory," but ultimately sees the whole as self-undermining yet weirdly committed. [Read](https://www.polygon.com/2019/12/18/21028823/cats-review-musical-taylor-swift-idris-elba-jason-derulo-francesca-hayward/)
- **HeyUGuys**, Linda Marric (2/5): The critic finds the film one of the most boring of 2019, with no coherent plot and few memorable numbers, though the diverse cast (including surprisingly good turns from Rebel Wilson and James Corden) and a couple of decent musical performances provide limited relief. [Read](https://www.heyuguys.com/cats-review-taylor-swift/)
- **The Ringer**, Adam Nayman (35/100, inferred): The piece finds the film too boring to qualify as a fascinating catastrophe or camp classic, likening it to an accidental but unengaging mess rather than true delirium. It offers stray thoughts instead of a standard verdict, noting it fails to deliver expected chaos or catnip-like appeal. [Read](https://www.theringer.com/2019/12/20/movies/cats-movie-review-taylor-swift-ian-mckellan)
- **Collider**, Matt Goldberg (D-): The critic describes the film as a mind-warping descent into madness with terrible direction, VFX, and no plot. It mixes poor source material with execution so flawed it renders even committed performances lifeless. [Read](https://collider.com/cats-review/)
- **Den of Geek**, David Crow (2 Stars): The critic calls it a colossal failure but a fascinating one, praising the choreography and standout performances like Ian McKellen as Gus and Jennifer Hudson's 'Memory' while criticizing the ghastly CGI fur, added hackish plot, and overall grotesque execution. [Read](https://www.denofgeek.com/movies/cats-review-me-ouch/)
- **The Wrap**, Robert Abeles (25/100, inferred): Tom Hooper's film turns the musical into a garish, unsettling spectacle that fails to enchant despite some strong turns from Jennifer Hudson, Judi Dench, and Ian McKellen. The hybrid of physical and digital elements crashes more often than it succeeds, with Hooper struggling to direct musical sequences effectively. [Read](https://www.thewrap.com/cats-film-review-musical-movie-2019-taylor-swift/)
- **The Playlist**, Lena Wilson (10/100, inferred): The critic calls the CGI the film's murder weapon, arguing it turns capable performers into grotesque, uncanny hybrids that are neither convincingly feline nor human and renders the whole spectacle overwhelmingly grotesque rather than enchanting. [Read](https://theplaylist.net/cats-universal-review-20191218/)

## Details

- **Director:** Tom Hooper
- **Director:** Tom Hooper
- **Screenplay:** Lee Hall, Tom Hooper
- **Cinematography:** Christopher Ross
- **Editor:** Melanie Oliver
- **Music:** Andrew Lloyd Webber
- **Production design:** Eve Stewart
- **Costume design:** Paco Delgado
- **Producer:** Debra Hayward, Eric Fellner, Tim Bevan
- **Cast:** Francesca Hayward as Victoria; Judi Dench as Old Deuteronomy; Idris Elba as Macavity; Jason Derulo as Rum Tum Tugger; Jennifer Hudson as Grizabella; James Corden as Bustopher Jones; Ian McKellen as Gus, the Theatre Cat; Taylor Swift as Bombalurina
- **Runtime:** 1h 50m
- **Certificate (MPA):** PG
- **Release (the US):** 20 December 2019
- **Genres:** Fantasy, Comedy, Drama
- **Budget:** $95 million
- **Box office:** $77 million
- **Trailer:** https://www.youtube.com/watch?v=gNTDoOmc1OQ

## Where to watch in the US

- Netflix: streaming
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $14.99, uhd
- Apple TV: buy $14.99, hd

*Checked 2026-09-16.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Golden Raspberry Award for Worst Picture 2019: Golden Raspberry Award for Worst Picture (won)

## If you liked this

- *The Young Girls of Rochefort* (1967): For ensemble dancing with room to breathe and colour that serves the performers.
- *The Band Wagon* (1953): A musical that trusts its dancers to make the evening worth having.
- *The Red Shoes* (1948), Fi1m 92: For ballet, theatrical obsession and fantasy that makes human effort matter. — [Fi1m page](https://film.one/film/the-red-shoes.md)
- *The Wiz* (1978): Another unruly stage adaptation, with a city worth exploring between the songs.
- *Pina* (2011): For dancers whose movements are allowed to hold our attention without apology.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/cats