Movie Review: The Runaways
The Runaways were formed in 1975 in Hollywood, California by drummer Sandy West and rhythm-guitarist Joan Jett, along with producer Kim Fowley. West and Jett were both interested in forming an all-girl rock band, and separately presented the idea to Fowley, who then introduced the two and eventually became the band’s manager. The two teenage girls became a five-piece, topped off with lead singer Cherie Currie. The band enjoyed a quick rise to fame, along with an even quicker demise.
Over 30 years later, while perhaps not a household name (save for Jett), The Runaways remain a chapter in Rock & Roll history that cannot be overlooked.
Director Floria Sigismondi, along with an ensemble cast that features former child-actor Dakota Fanning and Twilight star Kristen Stewart, brings the iconic band’s story to the silver-screen – attempting to blend the story-telling capabilities of film with the riot-inducing passion of punk-rock.
Both Kristen Stewart and Dakota Fanning deliver solid performances as Joan Jett and Cherie Currie, respectively, but it is the former who proves to be the more competent actor. On paper, The Runaways is more Currie’s story, but – perhaps appropriately, given their eventual fates – Kristen Stewart’s Joan Jett steals the show.
When Currie’s front-woman status causes a rift between the members of the band, prompting her walking out on a recording session, it should be Fanning’s moment to shine. The young actress enacts her temper-tantrum more than adequately, but it is Stewart’s (as Jett) defense of her friend that draws in the viewer and produces the scene’s emotional core. The rest of the film is filled with similar scenarios; Currie incites action, but Jett injects heart.
A supporting role by Michael Shannon is among the film’s highlights. The Oscar-nominee is flawless as Kim Fowley. He bathes the screen in palpable sleaze; his character making no secret of the fact that he sees The Runaways more as a means of selling sex than music. Shannon infuses humor into every line he delivers, thus creating a character that is, while deplorable, inexplicably likable.
When it comes to actually telling the band’s story, The Runaways is somewhat of a disjointed mess. Rock & Roll is never squeaky clean, so Sigismondi deserves some credit for her commitment to style. Her film is fast and gritty, just like the music it’s about – and tonally, it works wonderfully. However, when punk-rock sensibilities inhibit the comprehensibility of the film, there is a problem.
The Runaways jumps from scene to scene, failing to provide any semblance of a recognizable timeline. This disregard for the passage of time makes Currie’s brief two year presence with the band seem even shorter, undercutting the audiences ability to value the impact she made on the 1970s music scene. Further, integral moments in the band’s development seem unimportant due to the lack of context provided in antecedent scenes. It is nearly impossible to appreciate the events in the film because viewers are never provided the context necessary to establish their significance.
Great performances, and what one can only assume is a riveting story, can’t save The Runaways from its lack of narrative structure. When more time is spent trying decipher the plot than actually enjoying it, the film is terminally damaged. There is plenty to like here, but there is just far too much wrong with this movie to give it a pass.
