Graced with a velvet voice, 21-year-old Violet Sanford heads to New York to pursue her dream of becoming a songwriter only to find her aspirations sidelined by the accolades and notoriety she receives at her “day” job as a barmaid at Coyote Ugly. The “Coyotes” as they are affectionately called tantalize customers and the media alike with their outrageous antics, making Coyote Ugly the watering hole for guys on the prowl.

Credits: TheMovieDb.

Film Cast:

• Violet Sanford (Jersey): Piper Perabo
• Lil: Maria Bello
• Rachel: Bridget Moynahan
• Zoe: Tyra Banks
• Cammie: Izabella Miko
• Bill: John Goodman
• LeAnn Rimes: LeAnn Rimes
• Kevin O’Donnell: Adam Garcia
• Girl at the Surprise Party: Sarah Jane Morris
• Gloria: Melanie Lynskey
• Bidding Customer: Kaitlin Olson
• Bidding Customer: Susan Yeagley
• Bidding Customer: JJ Snyder
• Bidding Customer: Jill Gettelson
• Fiji Mermaid Worker: Whitney Dylan
• New Coyote: Melody Perkins
• Danny: Michael Weston
• Cop: Chip Chinery
• Cop: Nick Vallelonga
• Photographer: Michael Bay
• Lou: Del Pentecost
• William Morris Receptionist: Jeremy Rowley
• Music Publishing Receptionist: Ellen Cleghorne
• Richie the Booker: John Fugelsang
• Romero: Bud Cort
• Walt: Frank Medrano
• Management Office Receptionist: Elizabeth Beckwith
• Open Mic Woman: Diane Hudock
• Critch: Wali Collins
• Lyndsay Morgan: Nicole Ghastin
• Manager: Jonathan Klein
• Hostess: Alexandra Balahoutis
• College Guy: Johnny Knoxville
• College Guy: Chris Wylde
• Dancing Girl in Bar: Mandy Amano
• Dancing Girl in Bar: Stephanie Hodge
• Dancing Girl in Bar: Carla Alapont
• Dancing Girl in Bar: Allison Ford
• Dancing Girl in Bar: Kathy Nowrey
• Coyote Ugly Bar Patron: Joseph Patrick Kelly
• Coyote Ugly Bar Patron: Greg Collins
• Customer – Fancy Drinks: Stephen Snedden
• Finale Club Drunk: James T. Sale
• Finale Club Drunk: Joe Bucaro III

Film Crew:

• Producer: Jerry Bruckheimer
• Producer: Chad Oman
• Editor: William Goldenberg
• Casting: Bonnie Timmermann
• Production Design: Jon Hutman
• Costume Design: Marlene Stewart
• Music Supervisor: Bob Badami
• Stunt Coordinator: Buddy Joe Hooker
• Set Decoration: Rosemary Brandenburg
• Special Effects Supervisor: Steven Kirshoff
• Stunt Coordinator: Danny Aiello III
• Art Direction: Gae S. Buckley
• Director: David McNally
• Stunts: Joe Bucaro III
• Writer: Gina Wendkos
• Stunts: Rosine ‘Ace’ Hatem
• Stunts: Alisa Christensen
• Stunts: Will Leong
• Art Department Coordinator: Ashley Burnham
• Stunt Double: Laura Albert
• Construction Coordinator: David Elliott
• Stunts: Carrick O’Quinn
• Original Music Composer: Trevor Horn
• Stunts: Danny Epper
• Director of Photography: Amir Mokri
• Costume Supervisor: John Casey
• Stunts: Chad Randall
• Stunts: Steve Picerni
• Construction Coordinator: Ken Nelson
• Stunts: William H. Burton Jr.
• Visual Effects Producer: Donna Langston
• Special Effects Coordinator: Joe D. Ramsey
• Key Hair Stylist: Shari Perry
• Script Supervisor: Mikayla Abromowitz
• Stunts: Erik Rondell
• Hairstylist: Voni Hinkle
• Music Supervisor: Kathy Nelson
• Music Supervisor: Monica Zierhut
• Casting Associate: Alison E. McBryde
• Assistant Costume Designer: Juliet Ouyoung
• Costume Supervisor: Sara Markowitz
• Set Costumer: Valerie Manahan
• Researcher: Vanessa Bendetti
• Makeup Artist: Darla Albright
• Makeup Artist: Ela Barczewska
• Stunts: Angela Meryl
• Stunts: Janet Paparazzo
• Second Assistant Director: David Kelley
• Stunts: Gayle Hooker
• Stunts: Cinda-Lin James
• Stunts: Jeff Brockton
• Stunt Double: Joanne Lamstein
• Stunts: Amy Yanagisawa

Movie Reviews:

• DoubleUK: I managed to see this movie on it’s first day of screening in New York, back in 2000, just before I went back to Europe.
• ‘Coyote Ugly’ is a nice romantic comedy, perfectly fit for the generation who didn’t grow up with ‘Flashdance’, Saturday Night Fever etc.
• Piper Perado plays the young aspiring song-writer who wants to get a major record-deal, write songs and then safely watch others perform her music. But then there’s this little snag, called reality. Although the story is not very surprising it is solid and consistent told. We understand why she ends up on the bar dancing (no spoiler here). And at the same time we understand why her father is disappointed. A fine part played by John Goodman. At times their relationship reminded me of the one Madonna and Danny Aiello had in the ‘Father Don’t Preach’ music-video. Father reluctantly sees his daughter grow up. And she only wants him to be proud of her.
• After I saw the trailer on television I immediately went to the REAL Coyote Ugly Saloon on 1st Avenue on which this film was based (unless there’s another one, of course). The real bar is not nearly as flashy as it’s celluloid counterpart. But they DO hose down annoying customers with beer and there IS dancing on the bar. However by the female customers, rather than the waitresses. But they do get fresh with you if you happen to order something they don’t serve. (anything besides beer and Jack Daniels) And they do drink shots with the costumers. Funny detail is that in the movie is explained why they don’t get drunk.
• I know, I know, we already have Flashdance. (Also from Bruckheimer) but I don’t mind if this type of story is being updated now and then, right? Although the soundtrack could sound a bit more contemporary.
• Filipe Manuel Neto: **An excuse to make a film full of women swaying seductively without a hint of softcore.**
• What can we say about a romantic film, with light touches of comedy, that spends most of its time showing us very attractive women in tight, short clothes, and bouncing around sensually in an atmosphere of mockery and debauchery worthy of a university graduation party? A lot of things. What leaves us no doubt? It is a film made with an openly and openly heterosexual audience in mind. Released in 2000, I don’t know if the film would be possible today without being immediately accused of sexism and giving a stereotypical and sexualized image of women.
• Let’s start by talking about the good things. One of them, perhaps the best, is the extraordinary soundtrack, which compiles excellent songs into one of the best non-original soundtracks of the decade: “The Right Kind of Wrong” and “Can’t Fight the Moonlight” are so good that the entire we know them. The music is so important here that, in a sense, it is more of a music video than a film: the protagonist is an aspiring songwriter who tries to make it in the music market without much success, but who discovers that she sings well and becomes one of the main attractions. of a nightclub.
• The scenarios are convincing enough for us to believe them, especially if it is known that there really is a bar of this type in New York (in fact, it seems that others in the same franchise have already opened). Even so, there is so much exaggeration at parties that it is, in my eyes, difficult to believe in a certified and legal commercial space. Minimally decent editing, but sometimes lax, and cinematography that relies too heavily on red tones complete, on a less positive note, the more technical aspects of this film.
• In addition to the good songs, we have the beauty of the cast, with young and slender actresses, who make up for their inexperience with fantastic bodies and good dancing skills: Piper Perabo, Maria Bello, Tyra Banks, Izabella Miko, Bridget Moynahan and Adam Garcia. It’s a shame that physical beauty doesn’t translate into talent: as the cast wasn’t chosen based on the actors’ abilities, none of them offer an inspired performance. They are a bunch of complete scoundrels and the film, at this point, is very weak. In the interest of justice, it is imperative to save the renowned John Goodman, the only good actor here, who shows us what it is like to act in a character full of grace and quite comical.
• All of these, however, are mere stumbling blocks on the long road of a production that could, even so, be frankly good if it told us a good story. It is in the script and the story told that the film falls to the ground like an aspiring model who breaks both heels while parading. When watching the film, I asked myself over and over again where the hell the script was, because all that, that whole trip to the city, to a future in show business, is so absolutely cliché and has already been repeated so much that it is unacceptable. There is no substance. Then, all that sugary romance, without any chemistry, without any logic… it’s too stupid, with stupid and unacceptably poorly written dialogues.