Like the band that the film gets its title from, The Runaways is an energetic, hormone-induced effort. It is also undeniably exciting and outstandingly well-acted. The film tells the story of the all-teenage girl American rock band, The Runaways, centering specifically on lead singer Cherie Currie and guitarist Joan Jett. The band is put together and managed by the manipulative Kim Fowley, who hopes to cash in on their ‘jailbait’ sex appeal. Eventually, after the group writes songs and tours, they are signed to a major record deal and shoot to stardom. However while selling records, getting publicity, and playing around the world, it becomes clear that the rock ’n’ roll lifestyle is starting to take its toll on young Currie and Jett, who have formed a close, intimate friendship that eventually turns into a more mature or adult relationship. The powerful bond that the two girls have proves to be futile against their self-destructive behaviors, and the Runaways implode.

The characters and the acting is by far the film’s stand-out point. Kristen Stewart and Dakota Fanning are outstanding as the main characters, troubled teens and Runaways’ guitarist Joan Jett and lead singer Cherie Currie, respectively. At first look, the casting of these two actresses may put off viewers because of their reputations; Fanning being a well-known child actor, and especially Stewart, of teen ‘vampire’ film Twilight fame. However, viewers will, most likely, be surprised and fully entertained by their performances. They both bring a gritty attitude and vulnerability to their roles that greatly enhances and solidifies their characters as real and believable.

While the two lead actresses give fantastic performances, it is actor Michael Shannon who really steals the entire film as the band’s vulgar, flamboyant, egotistical and manipulating manager, supporting character Kim Fowley. Shannon’s performance is grippingly entertaining and unnervingly frightening; the latter for the sole reason that his portrayal is so believable that viewers can have the experience of viewing an actual psychopath manipulate and control the lives of these young girls.

As far as characters and acting goes, these three individuals are all that the film offers. The other band members, for legal reasons it can be learned after a little research, are not featured as much as Jett or Currie, and when they are utilized, they are only done so to cause conflict, making them nothing more than flat, static background characters. The same can be said for Currie’s family members (mother, father, sister, aunt, grandmother); they are only there to cause conflict and offer stereotypes.

The film’s story is not by any means fresh or innovative. It follows the standard rise-and-fall formula seen in many biopics about musicians/musical groups very closely. However, the story is exciting and easily drew me in with its themes of abandonment, ambition, friendship and the dangers that came with having these teenage girls travel on the road and their success during the excessive 1970s. This doesn’t mean that the screenplay has no flaws, though. There are points in the film when it seems the development/advancement of the plot or characters is sacrificed in order to include a musical montage. Which in my opinion, comes as no surprise considering director Floria Sigismondi is a music video director, this being her first feature film. The ending of the film where we see Currie and Jett moving on with their lives after the disbandment of their band is a satisfying one. It leaves the viewer with the feeling that even though these young girls have been hurt, they eventually come to a stable, calm mental state and find happiness.

The film’s cinematography and setting are well used. The setting of the ‘anything goes’ decade of the 70s is not only essential, due to the fact the events of the film actually took place during this time, but are used effectively to enhance the characters care-free actions of drug-use and sexual intercourse. Visually, color and lighting are adequately used to enhance the film’s setting. The bright reds and dark blacks, and shadowy corners and brightly lit stages do a decent job of visually representing the time period

The soundtrack is a troubling aspect. While used appropriately in certain parts of the film, the music often seemed presented, as it was mentioned previously, instead of focusing on plot/characters. This is, of course, a film about musicians. However a montage cannot tell a person’s story.

Two elements that were misused in points in the film were camera angles and symbolism. The former is less of an issue than the latter, though. For the most part, camera angles are used effectively; shots were clear and used very effectively to portray the often extremely hectic lifestyles of the characters. However, there are times in the film when the camera angles seem to be put sex in the focal point, like Fowley did with the band in real-life. Shots of the girl’s breasts and legs appear uselessly, hurting the film in the end. The symbolism that is used is an issue for the sole reason that it is very clichéd. For example, a close-up shot of water flowing down a drain after Currie and Jett partake in drugs is given to show that the girls are throwing their lives away with this behavior, but this is a highly used and, therefore, ineffective metaphor.

Overall, The Runaways succeeds in being a film that I easily recommend to others. Ultimately, the whole point of a film is for the view to care about its characters. This is where this film fully succeeds. Viewers will no doubt care about troubled teens Cherie Currie and Joan Jett, and despise the repulsive Fowley. Aside from the acting, the film and story itself is a highly interesting one that examines what it was like for these young girls to be taken from their small towns and broken homes and shot into stardom.

3½ out of 4 stars

Jesse Berberich is a freelance writer .