The Runaways reviewed
Although they’re based on true stories, rock biopics, on the whole, tend to stick to a single, predictable storyline: ambitious musical performer pays their dues and overcomes the odds to become a star. Then, as a result of various addictions, family problems or scandals the performer squanders their talent and their career crashes. Finally, if things don’t end in death, the performer achieves some kind of redemption, whether it’s in the form of a professional resurgence, or inner peace.
New filmic biography The Runaways doesn’t stray from this tried and tested formula, but that doesn’t mean the film is bad. Although it struggles with some pacing and predictability issues, The Runaways is still a fascinating look at a tumultuous era – for both music and gender issues – and is bolstered by several excellent performances.
The Runaways takes place in mid-Seventies California, at a time when the music industry was in a state of flux. The glam rock and punk movements were simultaneously breaking all the rules, with male bands – inspired by the likes of David Bowie – applying lipstick, and donning platforms, unitards and feathers. At the same time, young women, with new freedoms and a lack of parental authority, were filling the “macho” vacuum. These girls were tough, sexually aggressive, keen to experiment (in all areas) and rebellious. And in 1975, a group of these young women – including Joan Jett (Kristen Stewart), Cherie Currie (Dakota Fanning) and Sandy West (Stella Maeve) – came together under the guidance of eccentric music producer Kim Fowley (Michael Shannon). Their dream was to overcome industry prejudices and form what had never been done before: the world’s first all-girl rock band.
There are two things that really carry The Runaways, and that’s its aesthetic and performances. While the film doesn’t examine with any satisfying depth the relationships of the various real life figures depicted in the film, it really captures the look of the Seventies in minute detail. The clothing, the hairstyles, the props and set dressings look so authentic that you can’t help but feel a pleasant buzz of nostalgia while watching rock history unfold onscreen.
At the same time, Twilight co-stars Kristen Stewart and Dakota Fanning prove that their emotionally stilted acting in that supernatural romance series does not accurately indicate the extent of their capabilities. Both sit comfortably amongst the most talented actresses of their generation, and they certainly prove it in The Runaways.
Having already played Jodie Foster’s daughter in Panic Room, Stewart is highly reminiscent of her former movie mom in The Runaways. Stewart’s normal onscreen persona is a mix of seriousness and spaciness, and her portrayal of Joan Jett, who is sometimes a druggie, but always a committed musician, doesn’t require her to stretch too much. Still though, she’s a lot more likeable as grungy rebel Joan than Twilight’s Bella.
Dakota Fanning meanwhile graduates to adult stardom as Cherie Currie, The Runaways’ lead singer and 15 year old “jail bait.” A member of the band more for her looks than talent, Fanning’s character veers between conservatism and unbridled sexuality, and she unravels very quickly. Fanning carries off the role perfectly, and will probably surprise many people who remember her as a little girl, often irritatingly precocious, in films like I Am Sam, Man on Fire and War of the Worlds .
For the record, both Fanning and Stewart perform their own songs in The Runaways, but seeing as the real life Runaways were more about snarling than silky vocals, their performances in this regard are not especially impressive.
A final acting shout-out belongs to scene stealer Michael Shannon. Shannon clearly has a lot of fun playing Fowley, a flamboyant producer and self-interested (occasional) conman who has embraced the rock ‘n’ roll lifestyle to amusing extremes. He provides most of The Runaways’ comic relief, as well as large chunks of the film’s energy and aggression.
It takes a while for The Runaways to get going, and the film suffers from a few dull, not always coherent patches. Ultimately though, the movie is a compelling take on an important slice of real-life rock history. It also doesn’t hurt that The Runaways offers an entertaining role-reversal, with girls behaving badly this time, as opposed to their male musician counterparts. The Runaways may be girl-centric, but if you’re open minded and enjoy misbehaving vicariously through movies you should get a kick out of the film, regardless of your sex.
New filmic biography The Runaways doesn’t stray from this tried and tested formula, but that doesn’t mean the film is bad. Although it struggles with some pacing and predictability issues, The Runaways is still a fascinating look at a tumultuous era – for both music and gender issues – and is bolstered by several excellent performances.
The Runaways takes place in mid-Seventies California, at a time when the music industry was in a state of flux. The glam rock and punk movements were simultaneously breaking all the rules, with male bands – inspired by the likes of David Bowie – applying lipstick, and donning platforms, unitards and feathers. At the same time, young women, with new freedoms and a lack of parental authority, were filling the “macho” vacuum. These girls were tough, sexually aggressive, keen to experiment (in all areas) and rebellious. And in 1975, a group of these young women – including Joan Jett (Kristen Stewart), Cherie Currie (Dakota Fanning) and Sandy West (Stella Maeve) – came together under the guidance of eccentric music producer Kim Fowley (Michael Shannon). Their dream was to overcome industry prejudices and form what had never been done before: the world’s first all-girl rock band.
There are two things that really carry The Runaways, and that’s its aesthetic and performances. While the film doesn’t examine with any satisfying depth the relationships of the various real life figures depicted in the film, it really captures the look of the Seventies in minute detail. The clothing, the hairstyles, the props and set dressings look so authentic that you can’t help but feel a pleasant buzz of nostalgia while watching rock history unfold onscreen.
At the same time, Twilight co-stars Kristen Stewart and Dakota Fanning prove that their emotionally stilted acting in that supernatural romance series does not accurately indicate the extent of their capabilities. Both sit comfortably amongst the most talented actresses of their generation, and they certainly prove it in The Runaways.
Having already played Jodie Foster’s daughter in Panic Room, Stewart is highly reminiscent of her former movie mom in The Runaways. Stewart’s normal onscreen persona is a mix of seriousness and spaciness, and her portrayal of Joan Jett, who is sometimes a druggie, but always a committed musician, doesn’t require her to stretch too much. Still though, she’s a lot more likeable as grungy rebel Joan than Twilight’s Bella.
Dakota Fanning meanwhile graduates to adult stardom as Cherie Currie, The Runaways’ lead singer and 15 year old “jail bait.” A member of the band more for her looks than talent, Fanning’s character veers between conservatism and unbridled sexuality, and she unravels very quickly. Fanning carries off the role perfectly, and will probably surprise many people who remember her as a little girl, often irritatingly precocious, in films like I Am Sam, Man on Fire and War of the Worlds .
For the record, both Fanning and Stewart perform their own songs in The Runaways, but seeing as the real life Runaways were more about snarling than silky vocals, their performances in this regard are not especially impressive.
A final acting shout-out belongs to scene stealer Michael Shannon. Shannon clearly has a lot of fun playing Fowley, a flamboyant producer and self-interested (occasional) conman who has embraced the rock ‘n’ roll lifestyle to amusing extremes. He provides most of The Runaways’ comic relief, as well as large chunks of the film’s energy and aggression.
It takes a while for The Runaways to get going, and the film suffers from a few dull, not always coherent patches. Ultimately though, the movie is a compelling take on an important slice of real-life rock history. It also doesn’t hurt that The Runaways offers an entertaining role-reversal, with girls behaving badly this time, as opposed to their male musician counterparts. The Runaways may be girl-centric, but if you’re open minded and enjoy misbehaving vicariously through movies you should get a kick out of the film, regardless of your sex.
Comments
I really enjoyed this movie. I hope Dakota can make the transition from child star to adult star a lot more gracefully than some others have. She is really brilliant at this whole acting thing and it will be sad to see her fail. So far she is doing a good job in my books.
Kristen Stewart was also good. I liked her in The messengers and in this. Also rather impressed at the amount of movies she has done during the twilight craze. It is good to see that you can't just label her as "that twilight chick" like how those harry potter kids are "those harry potter kids". So good on her too!
BUT, that being said, I might give this one a try.
MJenks, the Runaways really does a lot to dispel a lot of the performance quirks that Stewart and Fanning are known - and frequently disliked - for