IT’S GENERIC Sigismondi’s script reduces the male-female world to two unsophisticated halves. All men are sex-driven pig dogs. There’s Cherie’s alcoholic dad; The Runaways’ abusive and megalomaniacal manager; countless dickhead musicians who don’t want girls playing electric guitars; and even Cherie’s boss at the end of the film tells her not to take business calls on personal time.
The women aren’t any better. They’re either completely subservient to man-slaves—like Cherie’s sister who stays at home to care for their dad, Cherie’s mother who moves away to follow her future hubby to Indonesia—or they’re snorting drugs, getting fucked, or throwing shit (like, totally rock and roll). But even the rocking and rolling seems mostly reactive (i.e. because of the abuse) rather than coming from some deeper character.
Plus, the film has all the stock scenes: Currie accuses her actress mother of being fake, gets stood up by dad on her birthday, deals with a sister who’s jealous of her success, gets sexually exploited by fashion photographers, and ends up tragically washed up on drugs. The writing telegraphs everything that’s going to happen just before it does, and does it in the most unexciting way possible. All scenes that you’ve watched in other movies re-heated and served with a side of music.