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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

    Summer camp drama The Plague proves middle school is still pure horror

    Alex Bentley
    Jan 2, 2026 | 2:30 pm
    Everett Blunck in The Plague
    Photo courtesy of IFC
    Everett Blunck in The Plague.

    Anybody who’s attended elementary school in the last 100 years knows the concept of “cooties,” a fictional affliction that is typically caught when touched by a member of the opposite sex. A more updated version of the same idea is featured in the Diary of a Wimpy Kid series, this time called the “Cheese Touch,” making anyone who touches a moldy piece of cheese on the school’s basketball court an outcast.

    A much more menacing version of this “disease” is on display in The Plague, which takes place at a summer water polo camp for tweens. The film focuses on Ben (Everett Blunck), a slightly awkward boy who struggles to fit in with the “cool” crowd led by Jake (Kayo Martin). That group has no problems making fun of others that they deem to be different, especially Eli (Kenny Rasmussen), who has been ostracized because of a rash he has that the kids call “the plague.”

    Ben wants to be part of the main group, but his natural empathy leads him to reach out to Eli on more than one occasion despite Eli engaging in some uncomfortable behavior. With the camp’s coach (Joel Edgerton) not much help when it comes to the bullying tactics by Jake and others, especially those that take place at night, Ben is left to fend for himself. His vacillations between wanting to be accepted and wanting to do what’s right continue until his hand is forced.

    Written and directed by first-time feature filmmaker Charlie Polinger, the film has all the feel of a horror movie without actually being a horror. The staging used by Polinger gives the film a claustrophobic feel as Ben can’t seem to escape the psychological torture inflicted by Jake and others no matter where he goes. He also employs a jarring score by Johan Lenox to great effect, one that’s designed to keep viewers on edge even when nothing bad is happening.

    No matter how far removed you are from middle school, the film will likely bring up feelings you thought you had left behind. Much like with Bo Burnham’s Eighth Grade, Polinger finds a way to tap into something universal in his depiction of tweens, an age when everyone is still discovering who they really are. Some go along to get along, others don’t even attempt to fit in, but no one truly feels settled.

    Whether the plague is real or not in the world of the film is up for debate. While most of the time it comes off as something made up to underscore the feeling of otherness felt by Ben, Polinger does literalize it to a degree. He even tiptoes up to the line of body horror before wisely retreating, although what he does show will still make some viewers squeamish. However, because he seems to be leaning one way before pulling back, there’s the possibility that some will be disappointed by the tease of something more intense.

    The film’s biggest success is in its casting. Finding good child actors is notoriously tough, and yet Polinger and casting director Rebecca Dealy found a bunch who sell the story for all it’s worth. Blunck, Martin, and Rasmussen get the most play, but everyone else complements them well. Edgerton is the only well-known actor in the film, but he’s used sparingly and isn’t asked to do much, leaving the kids to carry the story on their shoulders.

    Fitting in as a tween is hard enough without others actively trying to find ways to cast someone out. The Plague is an effective demonstration of the dynamics that can play out in a competitive environment that also includes a group that has yet to develop into fully-rounded people. It features discomfort on multiple levels, marking an auspicious debut for Polinger.

    ---

    The Plague is now playing in theaters.

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