The Runaways opens with a shot of what looks like red nail polish dripping onto the pavement and two blonde girls giggling as they run into a fast food bathroom. Cherie Currie’s sister declares her little sis a woman now (ewww, right?) and they proceed to whore themselves up with tight clothing and bright makeup before hopping into a dude’s car. Now, if the thought of first-time period blood doesn’t scare you off, you’re in luck. The rest of The Runaways tries to be just as provocative as its initial shot but can never recapture the same shock or surprise—unless you count the generous whooping of pervy middle-aged bros in the audience when a 15-year-old Dakota Fanning makes out with Kristen Stewart.
And, while the film doesn’t quite regain shock or surprise, The Runaways is actually a pretty decent film that goes way past grrrrl power. It’s ultimately the story of two chicks that wanted to become famous and grew up way too fast. And, okay were maybe exploited by some pervy dudes along the way.
Read more about Fanning in corsets after the jump!
And, while the film doesn’t quite regain shock or surprise, The Runaways is actually a pretty decent film that goes way past grrrrl power. It’s ultimately the story of two chicks that wanted to become famous and grew up way too fast. And, okay were maybe exploited by some pervy dudes along the way.
Read more about Fanning in corsets after the jump!
The opening of The Runaways depicts the beginnings of The Runaways’ lead singer Cherie Currie (Fanning) and its guitarist Joan Jett (Stewart), in which one is a weirdo, wannabe tough chick who saves up money for electric guitar lessons (Joan) and one chops off her locks to perform David Bowie at a talent show, only to be heckled on stage (Cherrie). Joan wants nothing more to play rock ‘n’ roll like the boys, and Cherrie wants nothing more than her daddy to notice her and strut around in bars in look-at-me jailbait clothing. Eventually Joan grabs the attention of record producer Kim Fowley (Michael Shannon), who decides, “what the hell? Let’s put together an all-girl band” and seeks out a lead singer who looks the part: Cherrie.
The rest of the film showcases the bands super humble beginnings, touring California for pennies and being insulted by boy rockers to their metoric rise to superstardom—in Japan—to their inevitable demise shortly after. The rest of The Runaways, including future metal queen Lita Ford, are barely given any lines of dialogue, as the main focus is fixated on Joan and Cherrie’s friendship, eventual light-lesbian dalliance, and to their growing rift after Cherrie is given more exposure in the media (especially once she starts performing in her underwear).
While the story is scarce—and even jumps to the conclusion a little quickly for my liking, the rest of the film is pretty robust. Stewart does her best to shed her icky Bella-isms from that little ol’ vampire flick, and, for the most part, succeeds. And, by succeed I mean she didn’t annoy the ever-living shit out of me and she didn’t bite her lip. Fanning, on the other hand, is truly the star of the film. She’s not given that much to do other than strut around until Cherrie is overtaken by drug use, but she really proves that she may be a child actor who makes a great transition to a full-fledged adult star (not of the porn variety).
In the hands of first-time feature film director Floria Sigismondi, who has cut her teeth on music videos, the film looks great—it has a grainy, dirty feel that embodies the subject of the film almost as much as the clothing and haircuts do. Another big highlight is Shannon as Kim Fowley (who I hear is skeezier in real life). As unnerving as he was in Revolutionary Road, Shannon was electric and perfectly douchy in The Runaways.
While the plot and character development are slim, the quality of the acting—and of the film itself—is decidedly rock ‘n’ roll.
--Darcie Duttweiler
The rest of the film showcases the bands super humble beginnings, touring California for pennies and being insulted by boy rockers to their metoric rise to superstardom—in Japan—to their inevitable demise shortly after. The rest of The Runaways, including future metal queen Lita Ford, are barely given any lines of dialogue, as the main focus is fixated on Joan and Cherrie’s friendship, eventual light-lesbian dalliance, and to their growing rift after Cherrie is given more exposure in the media (especially once she starts performing in her underwear).
While the story is scarce—and even jumps to the conclusion a little quickly for my liking, the rest of the film is pretty robust. Stewart does her best to shed her icky Bella-isms from that little ol’ vampire flick, and, for the most part, succeeds. And, by succeed I mean she didn’t annoy the ever-living shit out of me and she didn’t bite her lip. Fanning, on the other hand, is truly the star of the film. She’s not given that much to do other than strut around until Cherrie is overtaken by drug use, but she really proves that she may be a child actor who makes a great transition to a full-fledged adult star (not of the porn variety).
In the hands of first-time feature film director Floria Sigismondi, who has cut her teeth on music videos, the film looks great—it has a grainy, dirty feel that embodies the subject of the film almost as much as the clothing and haircuts do. Another big highlight is Shannon as Kim Fowley (who I hear is skeezier in real life). As unnerving as he was in Revolutionary Road, Shannon was electric and perfectly douchy in The Runaways.
While the plot and character development are slim, the quality of the acting—and of the film itself—is decidedly rock ‘n’ roll.
--Darcie Duttweiler
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