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    No Kid's Flick

    Kristen Stewart & Dakota Fanning dish with us on The Runaways

    Joe Leydon
    Apr 9, 2010 | 11:29 am
    • Kristen Stewart as Joan Jett and Dakota Fanning as Cherie Currie in "TheRunaways"
    • "The Runaways" movie poster

    Are you ready for a scorchin’ slice of grrrl power?

    Then you’re part of the target audience for the R-rated rambunctiousness of The Runaways, writer-director Floria Sigismondi’s careening and compelling biopic about the mid-1970s all-girl band that smashed through the glass ceiling designed to dissuade young ladies from rocking like the bad boys.

    It’s not exactly a complete picture, since Sigismondi, for various reasons, focuses almost entirely on two members of the original Runaways ensemble. Joan Jett — the swaggeringly ambisexual singer-guitarist who continues to perform as an indefatigable hard-rocker — and Cherie Currie — the group’s lead singer who left the music industry years ago, and has more recently made her mark as (no kidding) a chainsaw sculptor — are the featured players.

    But even if it’s not the whole story, The Runaways — based in part on a memoir by Currie, and executive produced by Jett — commands attention and stokes emotions. For that, much of the credit must go to its above-the-title lead performers: Twilight star Kristen Stewart, who makes all the right moves as Joan, and all-grown-up Dakota Fanning, who rocks the house and breaks your heart as Cherie.

    While promoting The Runaways — which opens today — Stewart and Fanning slowed down long enough to answer a few questions about indie moviemaking and rock ’n’ roll role-playing.

    CM: This is a movie about female empowerment, about how, in the 1970s, these girls proved they could rock just like the boys. As actresses, have you ever felt you’ve had to prove yourselves in a similar fashion?

    Dakota Fanning: Actually, I’ve grown up always thinking I could do whatever I want, and be whatever I want. I don’t think I’ve ever gone through any struggle compared to what [Cherie Currie and Joan Jett] did. I mean, when I started acting, sure, I didn’t get a lot of things that I wanted. Like, people said I didn’t have enough hair, or I was too blond, or I didn’t have enough experience, so they didn’t want me in their movie. So I experienced things like that. But nothing like they did.

    Kristen Stewart: Yeah. Joan always says that nothing has changed whenever she’s asked what’s different in music today. But that’s because she doesn’t see girls literally playing the kind of music that she does. And I don’t think that’s necessarily because things haven’t changed — I think it’s because she’s so unique. And I don’t know if girls necessarily have that drive.

    Yeah, we’re definitely put in boxes nowadays. They’re just different boxes. But I think it’s definitely gotten better, because I’ve grown up thinking I could be anything I wanted as well. Joan didn’t. At the same time, though, I think it’s still easier for a guy to have a little bit more personality, or individuality. It’s easier for them to be different, and not have people comment on it as much.

    CM: Gee, are you saying that a guy can get away with saying something totally outrageous, but a gal saying the same thing might be considered…. unladylike?

    Kristen: Yeah. To a certain degree, definitely.

    CM: Were you at all intimidated by the challenge of actually doing your own singing and playing your own instruments?

    Dakota: I don’t think it ever occurred to me to not do it myself. I just thought it would be so non-authentic — like, the easy way out — and I really didn’t want to do that. So I always wanted to sing. Of course, it’s a funny thing: Sometimes you jump into something without fully realizing what you’re getting yourself into. We had, like, two weeks to get ready. We had to sort of just do it without thinking, because we really liked it. We’re really not performers in that way. And they have such a distinct, awesome sound.

    Kristen: I never, ever got fully comfortable playing the songs while Joan actually was around. Ever. I just had to forget that she was there until they yelled, “Cut!” I mean, she always seemed really happy. And I ‘m sure that even if we were doing really badly, she would have said we were doing well — just to help us do better. But still ...

    CM: How did you prepare?

    Dakota: Well, I had some voice lessons, and I worked with Cherie on the songs. The performance of “Cherry Bomb” was what I worked on the most, probably. And that was filmed on the second to last day, so I had a lot of practice with that. But Cherie’s personality now is very different than what it was then. And off-stage, she was kind of quiet. I did some research, and I found this interview where she sounds so soft (whispering) like this. And that was so different from her on-stage persona. So I had to work on trying to capture that vulnerability she had, as well as the other stuff.

    Kristen: I played guitar before. And that was a good thing, because I had like six songs to learn. But it wasn’t so much playing the songs – Joan plays rhythm guitar, so it was, like, power chords. It was more the way she does it. I don’t do that, I don’t have her mannerisms. But she was with me every single day. And we were able to see Cherie and her together, too, which was also really helpful. Because when they’re around each other, they go right back to when they were with The Runaways. They sort of take on that same dynamic, which was very helpful.

    CM: But the emotions are just as important — actually, more important — than the music. You had to make this movie very quickly, on an limited budget. Did that make playing some of the more grueling scenes even more difficult?

    Dakota: Well, yes. You see, in every movie, there’s usually about two scenes that are your two really big moments. But in this movie, every little detail of it, every scene was so important, because it was someone’s life, and it really happened to them. We only had six weeks to do the movie, and it was kind of rushed.

    Kristen: And there were times when we’d really be working hard on something, and we’d think we’re going to do another take, but it was like, “OK. That’s it. We’re done with that now. That’s just going to be in the movie now. ” It’s not that it was arbitrary. It’s just that, well, that’s the nature of making a small movie.

    CM: Do you feel like you could have done some things even better if only you’d had some more time?

    Kristen: Oh, my God! Hell, yeah! We loved watching the movie, but (picking up a pencil) I can’t have objects like this is my hand while I’m watching it, because otherwise (lunging forward) I’ll want to go “Arrrgh!”

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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