Yes, Kristen Stewart and Dakota Fanning star in this one, but for anyone expecting a natural progression from a certain vampire series, a word of warning (or endorsement, depending on your point of view): The Runaways is dripping with sex. It’s about music fuelled by the furious desire to have an orgasm, a celebration of the X chromosome, chicks with guitars and other feminist thesis fodder. The Runaways is just the latest band biopic to vamp on that familiar riff of sex, drugs and you-know-what, but with the girls finally taking centrestage. Played by Kristen Stewart, Joan Jett exudes badass. Shag-haired and clad in a guy’s studded leather jacket – there are precious few female role models for her to look up to – she’s hell-bent on breaking some strings and blowing some amps. When a music teacher informs her that “Girls don’t play electric guitar,” she chooses to take it as a personal challenge. Providing counterpoint is Dakota Fanning as Cherie Currie, a platinum blonde nymphet who is just as much a rebel and misfit as Joan; she is quietly, perversely pleased by the violent reception she gets for her David Bowie lip-sync performance at a school talent show. Joan and Cherie (and a couple of not-as-important band members) come together under the tattered wing of rock impresario Kim Fowley (Michael Shannon from Revolutionary Road). The Runaways are born in a derelict trailer park, with Joan on the axe and Cherie rocking the mic, as they promptly bust out their feisty classic ‘Cherry Bomb’ with next to no effort.
As you might expect from Sigismondi’s credentials, The Runaways looks and sounds great. It has a grainy, gritty visual style that perfectly complements the rough-edged energy of the music. What lets it down is the script, which seems to have been assembled out of hazy memories during a bad hangover. It was based on Neon Angel: A Memoir of a Runaway, Cherie Currie’s 1989 memoir, which partially explains why the movie turns into the story of Cherie – the one who ended up running away from The Runaways. There is, subsequently a big blind spot where Joan’s personal journey should be. One gets the impression she ceases to exist when she unstraps her guitar. It’s a missed opportunity.
That said, Kristen Stewart looks good in a leather jacket, and is terrific as Joan Jett. Heck, when she knocks together her own Sex Pistols T-shirt and casually flips herself the V in the mirror as she’s trying it on, you believe she is Joan Jett. Unlike Robert Pattinson, whose dreadful Remember Me opened a week earlier Stateside, Stewart proves herself a very capable performer, and leaves the Twihards coughing dust in her wake. It was a calculated decision to leave Bella Swan far behind, but the right one to make. Dakota Fanning is also remarkable as the girl thrust unprepared into fame, no doubt a story she knows well. Thing is, it’s hard to get behind her the way you want to, since Sigismondi has a knack for moving on quickly just as things are getting interesting – the film, for instance, hints at a relationship between Joan and Cherie but then doesn’t know what to do with it. Perhaps another byproduct of Sigismondi’s music video experience: she doesn’t want to linger for fear of being boring.
Just as the original band owed their success to part-manager, part-pimp Kim Fowley, this movie gets it mojo from Michael Shannon, who is in a class of his own as the cocksure Fowley training his chicks. It’s Fowley that brands the girls as fetish objects, works them like a drill sergeant at band boot camp, exploits them, abuses them. (Verbally that is. It’s been suggested that Fowley abused them in ways not purely verbal, but that isn’t addressed here.) It’s a fierce performance of the sort of character you only get in real life – since in fiction he’d probably need some redemptive qualities. America didn’t really warm to all-girl ’70s rock group The Runaways the first time round. They barely made a dent in the charts and disbanded after five years. If this film achieves anything, it’s bringing Joan Jett and The Runaways to a whole new audience, which is nice. It’s just a shame that it doesn’t quite manage to rock as hard as The Runaways did.
Posted to Arts & Entertainment by KT Heins at 6:22 p.m., April 26, 2010
Most period, historical films involve tight, constricting corsets and long taffeta skirts, along with the reserved young woman, who merely gasps when the hero is tragically wounded. If this is what you love about film, buy a ticket to 2010’s ‘Clash of the Titans.’ However, if you want a biographical film that has more edge and raw energy, catch Floria Sigismondi’s ‘The Runaways.’ From the first drop of blood on the pavement to the last chorus sung, ‘The Runaways’ is an empowering, distinctive film that is anything but soft and fluffy.
In the 1970’s, rock n’ roll was a man’s world. Enter Joan Jett (Kristen Stewart) and Cherie Currie (Dakota Fanning); two teenage girls who have the aspiration to start an all girl rock band. Under the manic and tyrannical guidance of Bowie-wannabe, manager, Kim Fowley (an impressive Michael Shannon), the two are submerged into a world of sex, drugs and rollicking rock n’ roll. Along with Lita Ford and Sandy West, the ladies form the short-lived group, ‘The Runaways,’ determined to rip the man’s image from rock. With the raw, pure talent of Joan, and the sex appeal of Cherie, the band quickly rises to power and spirals out of control, plummeting over the course of two years.
Shot as a grainy, classic music video, ‘The Runaways’ focuses on the music and the guitar rifts more than the actual development of the characters. Although Joan, Cherie and Fowley are distinct and unforgettable, guitarist Lita Ford and drummer Sandy West are left on the editing room floor. Rightly so, however, considering their lack of interest as opposed to Jett and Currie. Kristen’s portrayal of Jett is remarkable. A reserved young woman in interviews, Stewart’s swagger, street smarts and sultry, powerful energy transform her into the rock icon that is Joan Jett. The actual Jett said once that she mistook Kristen’s cover of her song, ‘Playing with Fire’ as her own. She nearly outshines Dakota Fanning’s innocent Cherie Currie, who the film is supposed to center on. However, Michael Shannon as the manic Kim, proves to be the most entertaining of the three.
A series of sharp cut scenes, the direction in ‘The Runaways’ is unique and certainly not conventional. As a former music video director, Floria Sigismondi’s style resonates into the motion picture. From the extreme close-ups, to the slow-framed emphasis on the utter ecstasy of rock, sex and drugs, the colorful, sometimes hysterically shot film does not fail to infatuate and convey the hectic lives of these women.
If you are a fan of The Runaways (the band), I doubt you’ll be disappointed by this comical, yet dark depiction of what really happened in 1975. If you are not a fan, I don’t doubt you’ll be humming the hit single ‘Cherry Bomb’ by the end credits.
4.5 out of 5
The power of raw acid leaks through the speakers when “Cherry Bomb” starts to play and the crowd goes insane when they see Cherie Currie wearing red lingerie. The Runaways were one of the first all-female rock bands and catapulted the careers of guitarists Joan Jett and Lita Ford into stardom. The self-named biopic chronicles the band’s rise and fall and centers around the relationship between Jett and Currie. The film is based on Currie’s autobiography “Neon Angel.” The film shows these two girls in their raw, primal forms. With Currie’s love for David Bowie and trouble fitting in to, more importantly, Jett’s struggle to play the electric guitar as a girl. As their lives unfold, so do the roots of female individuality and sexuality in music and the world.
This movie is gritty, rough, grimy and fantastic. The shots are clean, the music is tight and the acting is surprisingly smooth and worthwhile.
Dakota Fanning, as Currie, and Kristen Stewart, as Jett, have an unmatched chemistry on screen. The voices heard in the movie are actually Fanning’s and Stewart’s, which gives it a raw and completely real feeling. At first, Fanning sounds terrible when she auditions for the band, but when she puts on the sexy red outfit and performs in Japan on tour, an animal is unleashed. This scene is strikingly the climax of the film, with a complete performance of “Cherry Bomb” and stunning visuals. Unfortunately, Fanning emanates a good-girl vibe, and lacks the harsh rock-and-roll edge Currie describes in her book.
Kristen Stewart, on the other hand, takes a pound of bricks and smashes all expectations in the face with her portrayal of Jett. Not only did she do the part justice, but sets the standard for future rock-and-roll biopics. She captures the angst and emotion of the confused rock star and gets the voice just right. But, most importantly, she grips the rock-and-roll attitude and kicks it to the curb, which is proven when she urinates on a guy’s guitar for telling her she should be in the kitchen.
The final piece that brings the entire show together is manager Kim Fowley, played by Academy-Award nominee Michael Shannon (2009, for his supporting role in “Revolutionary Road”). The slimy man constantly sneers and leers at the girls, egging them on and abusing them mentally and verbally. He jumps and screams and shouts when they mess up on stage, and makes sure to let them know that he’s the one with the money and power.
The one thing this film really lacks is true introspection. The minds of Jett and Currie are never fully pried open, or at least not enough to see what’s really bothering them. They take it out on themselves with drugs, booze and sex, but there is never a moment, clean or drug-driven, of revelation where the curtains open and the true meaning of things start to unfold. The girls were only sixteen when the band hit its pinnacle, but there is still a hidden truth behind The Runaways that the movie just doesn’t fully explore.
“The Runaways” tells the story of five girls trying to make it big in the male-dominated world of 70s rock. They fall under the tutelage of Kim Fowler (played extremely well by Michael Shannon), who not only gathers the girls together, but becomes the band’s manager and producer.
Under Fowler, the band is formed, with Joan Jett on rhythm guitar, Cherie Currie as lead vocalist, Sandy West on drums, Lita Ford as lead guitarist, and Robin, the bassist. Robin represented Jackie Fox, who did not want to be seen in the movie adaptation of the band’s lives.
Sigismondi really plunged the audience into the 70s underground world of grunge during some of the scenes with Fowler and the girls practicing. For instance, Fowler had to teach the girls to toughen up. This was necessary after Currie, played by not-so-nice girl Dakota Fanning, brought in a slow love song to sing in their first practice. Viewers may find it amusing to see young kids (bribed by the manager) at practices heckling the girls. To even more laughter, Jett seems to be thrilled when she finds she can hit trash chucked on stage with her guitar, swinging like a baseball player.
What is very clear, though, is that the laughs are few and far between in “The Runaways.” The audience must watch as Currie goes from being a good girl from a broken home to becoming a full-on drug addict. Though she’s clearly portrayed as the worst of the lot, the whole group experiments with drugs and sex. It also features some lesbian scenes between Jett and Currie. It’s almost surprising to see the transformation of Dakota Fanning from the ultimate cute, good girl to Currie, a bombshell and addict. The star, known for playing sweethearts in “Charlotte’s Web” and “The Secret Life of Bees,” however, seems like a natural in “The Runaways.”
Kristen Stewart, however, steals the show. Known around the world for her portrayal of “Bella” in “Twilight,” many people put her in the waif category, as her most well-known character is a lovesick, obsessed teenager. In “The Runaways,” though, Stewart really proves her talent. She is Joan Jett, no question about it. There is the fact they bear a striking resemblance, but her mannerisms and harsh, aggressive attitude mimic the real-life 70s rocker, who had no use for boys.
There’s almost no concrete plot line to the film, other than to show the band’s formation and ultimate demise and how they handled everything thrown at them in between – be it fame, sex or drugs. Interestingly, though, it’s not boring. From Currie’s first performance lip-synching David Bowie to Jett’s aggressive meeting with Fowler, the audience won’t be able to look away.
The film hits its peak, though, when the girls go on their first tour. It may be worth it only to watch how their fame made them nearly as popular as The Beatles in Japan. This culminates in the scene where they perform “Cherry Bomb,” sung well by Fanning. It’s nearly impossible to tell which songs on the soundtrack to “The Runaways” were sung by Fanning and Stewart apart from the Currie and Jett hits.
The only real downfall to the movie is the fact that other actresses playing band members, Stella Maeve, Scout Taylor-Compton and Alia Shawkat, did not get a chance to shine. “The Runaways” was almost entirely about the path Currie and Jett took, which makes sense, given their relationship and the fact that Jett was an executive producer of the film. The basic story of the tough all-girl band was told pretty quickly and wrapped up even faster. “The Runaways,” though, is the type of movie which will probably inspire girls and maybe even guys to research further the past of the band. This movie will probably give The Runaways a few more fans, at least.
Chances are many girls around the country will see “The Runaways” purely because the “Twilight” star is a lead. Maybe it’s just wishful thinking to assume they’ll be exposed to more culture after seeing the story of this epic band. But, as The Runaways paved the way for girl bands today, perhaps Sigismondi’s film will be an inspiration for girls in the future.
The main attraction here is Stewart, and I recommend this film for the sole pleasure of seeing this talented actress begin her development into something special. She has an electric screen presence, and I can't get over how awesome she looks in the film. My hat goes off to Costume Designer Carol Beadle for helping create a character with such a memorable look. Part of me wants to see Stewart take another crack at the role a few years done the line, focusing solely on Jett's career after The Runaways. We only see about five minutes of Jett after the band splits, and, not surprisingly, they are some of the best minutes this film has to offer.
source via kstewsbutt
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Bonnie isn’t the only one saying Kristen rocked this movie!
After months of hype, The Runaways is finally in theaters this weekend! It’s a limited release for now, but at least fans will finally get a chance to see Kristen Stewart ignite the screen as ’80s rocker Joan Jett. And it sounds like fans will have plenty to look forward too, as the critics are LOVING K-Stew’s performance:
1. “Ms. Stewart, watchful and unassuming, gives the movie its spine and soul. Cherie may dazzle and appall you, but Joan is the one you root for, and the one rock ’n’ roll fans of every gender and generation will identify with.” — A.O. Scott, The New York Times
2. “Stewart in short-cropped dark hair and dark clothes is the movie’s driving force as Joan Jett.” — Kirk Honeycutt, The Hollywood Reporter
3. “Kristen Stewart gets out of Bella mode, and is completely convincing as the young, awkward Joan who’s determined to rock as hard as any guy with her new girl band, The Runaways.” — Bonnie Fuller, HollywoodLife.com
4. “Twilight’s Stewart is a good fit for the tough but good-natured Jett, who carried on as frontwoman after Currie left, then launched a far more successful solo career.” — Dennis Harvey, Variety
Just wanted to post this because I was talking with a friend and we were talking about all of the reviews for The Runaways, and I don't think there has been a bad review for Kristen yet...I think this is the first time ever that not a single person has said a bad thing about her acting. Can anyone think of any reviews that weren't favorable for Kristen?
(CNN) -- When the Runaways cut their first LP in 1976, producer Kim Fowley made sure their ages were printed on the sleeve.
It wasn't enough that he had the first all-girl rock band on his hands. These were also the girls Chuck Berry used to sing about, 16 years young (if not so sweet).
As he exults it in director Floria Sigismondi's new movie, "The Runaways," "Jailbait [expletive] jackpot!"
These days, teen sensations tend to come ready-made straight off the Disney Channel. But the Runaways were raw -- and not about to cuddle up to Mickey Mouse.
Lead singer Cherie Currie is recruited because Fowley (Michael Shannon) and proto-punkette Joan Jett (Kirsten Stewart) like her look. Can she sing?
Her experience consists of lip-synching to David Bowie's "Rebel Rebel" at a high school talent show. She was booed off the stage, but she doesn't tell them that. The alternative is following in her older sister's footsteps, working in the nearest taco take-out.
Sigismondi evokes the no-frills, straight-ahead vibe of '70s drive-in flicks; the first image is of menstrual blood hitting the sidewalk. She has directed pop videos for David Bowie, Bjork and the White Stripes, and this film, she doesn't pretty up the music scene. She doesn't have to.
There's built-in excitement and energy as the band comes together to produce short, sharp shockers such as ch-ch-ch-ch "Cherry Bomb" (improvised by Kim and Joan on the spot in Cherie's honour).
A glam Frankenstein, Fowley puts the band together piece by piece in his broken-down trailer, barking for more attitude, more sex, more -- uh, testosterone.
"This isn't about women's lib," he yells, "it's about women's libido."
Of course, liberation and libido aren't mutually exclusive, even if this underground Svengali expects to call all the shots. It's his confusion on that score that probably seals the band's crash-and-burn fate.
In a scene that deserves its own exhibit in the Rock 'n' Roll Hall of Infamy, he has the band play on while they're pelted with trash and dog excrement to prepare for their first gig. It's unorthodox, but also useful preparation for the road, Sigismondi implies.
It's a mystery how the intense and flamboyant Shannon ("Revolutionary Road") continues to fly under the radar.
The same cannot be said for Kristen Stewart or Dakota Fanning. The "New Moon" stars are the right age (19 and 16 respectively), but more importantly they seem of the right time. They suck on cigarettes, party all night, and there's not a paparazzo in sight.
Proving she's more than just a wan face, Stewart gets Jett's peculiar toughness. She's like John Garfield in a hot red jumpsuit. When the band begins to splinter and Joan starts smashing furniture around the studio, it's not about ego or bravado, it's just the frustration of someone who loves what she does and sees it slipping away from her.
Currie is a more vulnerable character, but somehow a less compelling figure. Although the movie is based on Currie's memoir -- it's lightly structured as an adolescent's coming-of-age story -- scenes picking over her fractured family relationships have a rote feel.
It doesn't help that Riley Keough (Elvis Presley's granddaughter), who plays big sister Marie, is a miserable actress -- though it's nice to see Tatum O'Neal back, however briefly, as the girls' absentee mom.
The inevitable burn-out, such a staple of the rock biopic, drags down the movie just when it's hitting stride.
It may be true that most rock dreams end with a dose of harsh, cold reality, but Joan Jett's ongoing love affair with rock 'n' roll is proof that it doesn't have to be that way. Stewart steals the show here, indicating they've made the movie about the wrong woman. Jett remains the runaway that got away.
It is not always clear which story “The Runaways” wants to tell, and it hits a few too many standard music biography beats. Here, right when you expect them, are the early setbacks and heady triumphs, the pressures of the road and the pitfalls of celebrity. But Ms. Sigismondi infuses crucial scenes with a rough, energetic spirit, and shows a willingness to accept the contradictions inherent in the material without prurience, moralism or too much sentimentality. The movie may be a little too tame in the end, but at its best it is just wild enough.
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Instead The Runaways is really the story of Cherie Curry. Played by Dakota Fanning she’s a 15-year-old girl from a broken home who’s recruited for the band mostly because she has the right look. Jett is always there, off to the side or in the background. She’s the driving force of The Runaways and clearly not only the real talent of the band but the only girl who actually seems to love what they’re doing. But Jett leaps on screen almost as if she’s already fully formed. We never really know much about her beyond the rock goddess. She has no family, no history, no past. For that there’s Curry, a girl who’s not so much a rocker as a victim of the 70s rock and roll machine.
She’s snatched up by strange but seemingly knowledgeable record producer Ken Fowley (played by a brilliantly zany, scene-stealing Michael Shannon) who’s working with Jett to create the world’s first all-girl band. Joan has the talent while Fowley has the know-how and together they put the girls through a rock and roll boot camp. Cherie is plugged in as a singer, since she can’t do anything else, and because Fowley wants her out front to sex things up (their hit song Cherry Bomb touts her as jail bait). The Runaways are a rock and roll band in every sense: they play hard-edged, rebellious, sex-tinged music and it’s not long before they’re on tour immersed in the obligatory sex and drugs which goes along with the rock and roll.
Curry, only 15, can’t take it and the movie follows as she and the girls rise to stardom and begin their inevitable downfall. Fanning gives the kind of adult performance we’ve never really seen from her before and she’s absolutely perfect, deftly capturing the desperate innocence of Curry as she spirals down into a world that’s clearly more than she can handle. But then in the background there’s always Jett, even at her most drugged out clearly in control and breathing rock and roll. Curry, who never seemed to like rock music all that much in the first place, latches on to her like a port in a storm, but Joan is too busy breathing rock n’ roll to help.
First time feature director Floria Sigismondi takes a tired rock formula and manages to make it all her own. The Runaways looks fantastic and it’s paced in such a way that it’s always moving, pounding along to the same rock and roll beat which powers its music. It’s the story of tragedy, in Curry, and pure unbridled talent, in Jett. The rock and roll scenes are toe-tapping fun and the tale of an all girl band manufactured, unleashed, and then run aground is as interesting and gripping as it ought to be. The Runaways, as part of a genre which has been done to death, may not contain many surprises but in spite of that, manages to feel fresh.
An all-girl rock band is named and trained by a rock manager of dubious sexuality, goes on the road, hits the charts, has a lesbian member and another who becomes a sex symbol, but crashes from drugs. This is the plot of a 1970 film named "Beyond the Valley of the Dolls," which inadvertently anticipated the saga of the Runaways five years later. Life follows art."The Runaways" tells the story of a hard-rock girl band that was created more or less out of thin air by a manager named Kim Fowley. His luck is that he started more or less accidentally with performers who were actually talented. Guitarists Joan Jett and Lita Ford are popular to this day, long after the expiration of their sell-by dates as jailbait. The lead singer, Cherie Currie, co-starred in the very good "Foxes" (1980) with Jodie Foster, had drug problems, rehabbed, and "today is a chain-saw artist living in the San Fernando Valley." The ideal art form for any retired hard rocker.
The movie centers on the characters of Jett (Kristen Stewart), Currie (Dakota Fanning) and the manager Fowley (Michael Shannon). Jett was the original driving force, a Bowie fan who dreamed of forming her own band. Fowley, known in the music clubs of Sunset Strip as a manager on the prowl for young, cheap talent, told her to give it a shot, and paired her with Currie, whose essential quality is apparently that she was 15. That fit Fowley's concept of a jailbait band who would appeal because they seemed so young and so tough. He rehearses them in a derelict trailer in the Valley, writing their early hit "Cherry Bomb" on the spot.
Shannon is an actor of uncanny power. Oscar nominated for a role as an odd dinner guest in "Revolutionary Road" (2008), he was searing as he turned paranoid in William Friedkin's "Bug" (2006). Here he's an evil Svengali, who teaches rock 'n' roll as an assault on the audience; the girls must batter their fans into submission or admit they're losers. He's like a Marine drill sergeant: "Give me the girl. I'll give you back the man." He converts Cherie, who begins by singing passively, into a snarling tigress.
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From its opening plop of menstrual blood on Southern California asphalt, The Runaways feints in the direction of being an obstreperously feminist biopic worthy of its subject, the mid-1970s hard-rock band of teenage girls—exploitatively promoted and covered as "real jailbait"—who shattered the sound barrier that kept all-female pop combos in the low-decibel or novelty ghettos. And for much of its first half, veteran music video director Floria Sigismondi's feature debut gives the story a buzzing, underdog energy, transcending the genre's well-worn basics due principally to a pair of nervy impersonations: Kristen Stewart as shag-coiffed, slouching guitar goddess Joan Jett, whose will and ambition can't be denied by a teacher's refusal to let her plug into an amp; and Michael Shannon's often hilarious and ultimately toxic manager-collaborator Kim Fowley, more a glam Beelzebub than Svengali in his studded choker, daubs of face paint, and Nietzschean lack of self-doubt. ("I'm gonna teach you to use your cocks!" is a typical Fowley sneer at his underage protégés in their filthy rehearsal trailer, before he invites some boys in to hurl beer cans at them for "heckler practice.")
Unfortunately, The Runaways isn't really about either of them, or musical alchemy. Hanging out at the same L.A. clubs as Joan is 15-year-old Cherie Currie (saucer-eyed Dakota Fanning, occasionally recalling Patricia Arquette-level catatonia), burdened by a messy home life and scorned with cries of "freak" at her school-assembly lip-sync of Bowie's "Lady Grinning Soul." (Fanning replicates Currie's "underwater" arm-waving brand of solo-dancing impeccably.) Before long, Fowley has recruited Cherie as the front-girl Bardot of the band, browbeating her to drop cooing Peggy Lee-style vocals for a coquettish snarl, imploring her to "sing like you want an orrrrrrrrrrgasm!" Sigismondi paints him as a bottom-line cretin vamping as a visionary, but her script endorses his goals, suggesting that his crass manipulations were the only means of translating the loud-girl-band idea into a major-label career. (The film does give him some creative props when he and Jett appear to improvise the group's signature tune "Cherry Bomb" in about two minutes, like an old MGM bio-musical's scene around a Tin Pan Alley piano. Yet it's a fun moment, not a ludicrous one: "Cherry Bomb" is plausibly a two-minute job.)
Depending on who you talk to, the Runaways were either an interesting footnote in rock history, or one of the Most Important Band Ever. They certainly weren't the first chick rockers (Patti Smith and Suzi Quatro got there before they did) but they were the first all-girl band to actually make some legitimately awesome noise (despite being packaged as disposable sex kittens) and thus prove that girls could kick as much ass as boys. A biopic was pretty much inevitable; the only question was which generation of starlets would be the ones to portray them.
In the end, we got the Twilight generation. And that turns out not to be as tragic a bit of happenstance as it could have been.
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The Yellow Handkerchief opens with the release of Brett (William Hurt) from prison. Hurt's world-weary eyes and wrinkled face telegraphs a lifetime of experience more than any of the film's overcooked dialogue. Brett quickly teams up with a pair of loner teenagers with little in common: An awkward Native American named Gordy (Eddie Redmayne) and a sullen girl named Martine (Kristen Stewart). The ragtag trio begins a physical and emotional journey across Louisiana to the southern edge of the country. The film intercuts between the present day journey across the ravaged state and flashbacks that will clearly explain what landed Brett in jail in the first place. Through the flashbacks, we learn of the story of Brett and May (Maria Bello), the one good thing that ever happened to this ex-con and, of course, how it ended in jail. Meanwhile, the socially uncomfortable Gordy and lonely Martine learn a lesson or two along the way.
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Just want to share this tidbit if you haven't read it yet. Top critics as well as those who think they are have given their verdict for this indie flick !
Here's a few........
"You don't need an original story for a movie. You need original characters and living dialogue."3/4
"Even Stewart, an untutored colt of an actress who can toggle between natural grace and utter haplessness, finds her groove here."3/4
"Kristen Stewart, just 17 at the time the movie was shot (several months before filming began on the first "Twilight" picture), navigates the swells of teenage confusion with precocious confidence."4/5
"The Yellow Handkerchief is a love story. Two, really. At its center is the sweetly fractured ticking of a broken heart on the mend."3/4
"The sleepy scenery and charming performances -- Stewart escapes her vampires and reminds everyone what the fuss used to be about -- keep The Yellow Handkerchief from blowing it." 2 1/2 out of 4
If you have any doubts of seeing this movie, hope this will help you to check it out:)
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