Tag Archives: Floria Sigismondi

Retrospective Review: The Runaways

Year: 2010
Run Time: 146 minutes
Director: Floria Sigismondi
Writer: Floria Sigismondi 
Stars: Kristen Stewart, Dakota Fanning, Michael Shannon

By Kristy Strouse

It’s been ten years since we saw “Twilight” (2008) cast-mates Kristen Stewart and Dakota Fanning graze the screen in the music biopic “The Runaways.” While the Floria Sigismondi written/directed film has its fair share of follies, by the end it’s worthy of a collective fist to the air, celebrating – at the very least- the spotlight on these talented women and the impact they had on the rock and roll world.

At a time when bands entirely made up of women weren’t a prevalent nor seemingly lucrative notion, The Runaways was formed, primarily because of the persistent ambition of Joan Jett (Stewart) and her collaboration with Kim Fowley (played with an on-spot eccentricity here by Michael Shannon). Soon they bring in Cherie Currie (Fanning) to be the lead singer, along with Sandy West (Stella Maeve), Lita Ford (Scout Taylor-Compton) and Robin (Alia Shawkat). Then we’ve got the pop-punk legendary group: The Runaways.

the runaways
Dakota Fanning, Alia Shawkat, and Kristen Stewart in The Runaways (2010)

“Dakota Fanning is by far the stand out in “The Runaways”. She’s alluring as Cherry, provocative and absorbed in the spotlight. I think that the film shows how damaging this can be to someone as young and innocent as her.”

Can girls rock? Absolutely (as if this is a legitimate question) however here, in this setting, it is considered. The movie delivers us a quick assembly, rapid development, and an even shockingly faster boost to fame. It isn’t an unknown story, despite being a real one, and it’s commonly seen with films like this: the fast tracks to being a celebrity aren’t always happy ones.

Floria creates a film that is radiating with style, full of grungy rock glam. She wrote the screenplay, based on Cherie Currie’s book, and it’s got the look of a long night of party and glitz, as well as the exhausted morning after when things aren’t as bright and the world’s weight is suddenly felt. The colours and camera work feel like you’re in the whirlwind alongside these girls; a drug and sex-fueled ride through success. That works as both an ignition and a deflector, as their young rise to success hits Sherry hard. These are young girls, after all, exploited- yes, and how these two main characters deal with it, is very different.

run
Dakota Fanning in The Runaways (2010)

“There are some wonderful emotional developments between these young women, forming bonds off stage, before kicking ass on. They are thrust into unknown territory while navigating their own sexuality and identities, and that’s the real heart of “The Runaways.”

Dakota Fanning is by far the stand out in “The Runaways”. She’s alluring as Cherry, provocative and absorbed in the spotlight. I think that the film shows how damaging this can be to someone as young and innocent as her, someone desperate for escape and attention, and how it can swallow you up. For, Joan, it’s different, her passion for music and refusal to not be heard is the strongest connection to the character that we get. I wanted to love Kristen Stewart as Joan more than I did. There’s an electricity with Joan that Stewart doesn’t quite nail, but that’s not to say she doesn’t try. She manages the mystique and definitely looks the part, but there’s not the same level as performance as there is with Fanning.

run 1
Dakota Fanning and Kristen Stewart in The Runaways (2010)

The movie flounders in its length and some of its later scenes. The third act isn’t the strongest, and the earlier build before the fall is where the movie really shines. There are some wonderful emotional developments between these young women, forming bonds off stage, before kicking ass on. They are thrust into unknown territory while navigating their own sexuality and identities, and that’s the real heart of “The Runaways.” It isn’t delicate, and the high voltage trail of excess is nothing if not entertaining. It isn’t perfect, but it is sure to leave an impression. After all, the band was formed in the mid-1970s and the film is ten years old now, yet here we are. These girls, and the actresses that embody them, are worth talking about.

3 stars

Review: The Turning

Year: 2020
Runtime: 94 Minutes
Director: Floria Sigismondi
Writers: Carey & Chad Hayes
Stars: Mackenzie Davis, Finn Wolfhard, Brooklynn Prince

By Kate Boyle

Henry James’ novella The Turn of the Screw is a staple in the horror genre. It’s been adapted into plays, radio show, and several movies. The latest adaptation is Floria Sigismondi’s “The Turning”(2019). This is the first time this story, primarily about a woman and her mental state, is being told solely by a female director.

“The Turning” tells the story of Kate (Mackenzie Davis), a young teacher turned governess for a young girl (Brooklynn Prince) who recently witnessed the tragic death of her parents. The girls troubled and slightly creepy older brother (Finn Wolfhard) is sent home from boarding school shortly after Kate starts her new job. It’s then that Kate starts to notice strange and unexplainable things going on in the house and thinks there may be something sinister or supernatural going on…

“The Turning” wasn’t all bad, the child actors were surprisingly good…Both young actors played their “troubled child” roles well, Wolfhard especially seems to have found his niche in the horror genre.

This film starts off as your typical supernatural or psychological thriller. It’s filled with jump scares, creepy music, creepy children, and an intriguing mystery. Unfortunately, as the film progresses it loses its appeal. The story really takes a dive at the end and without prior knowledge from the novella or previous films, it can leave the viewer feeling confused or upset. The films biggest flaw is its storytelling. They took a well known novella that has been adapted successfully many times, and didn’t do it justice.

There were a lot of storytelling decisions that left me wondering why they chose to do things they way they did. Why was it set in the 1990s? Why the dramatic, out-of-place feeling ending? Is Finn Wolfhard evil or just awkward? What is going on? It was unanswered questions like these that ultimately lead to my low opinion on the film. In the hour and a half I sat watching this film, I felt I didn’t learn much I didn’t already know from the trailers.

“The Turning” was not great. It unfortunately fell victim to that “all January releases are terrible” stereotype.

“The Turning” wasn’t all bad, the child actors were surprisingly good. I had high expectations for Finn Wolfhard because he’s fairly well known at this point, but Brooklynn Prince is only nine years old and I have yet to see her in anything else. Both young actors played their “troubled child” roles well, Wolfhard especially seems to have found his niche in the horror genre. Mackenzie Davis wasn’t terrible either, she carried most of the film on her own and did the best with what she was given. I hope to see her in something else soon that allows her to shine. It really was just the ending that ruined the whole movie for me, the first hour or so was decent.

Overall, “The Turning” was not great. It unfortunately fell victim to that “all January releases are terrible” stereotype. It features good performances from most of the cast, but fails in its storytelling. If you’re familiar with the original novella, you may feel differently but in the end, this film just did not work for me.

Review: The Turning

Year: 2020
Runtime:
Director: Floria Sigismondi
Writer: Carey W. Hayes, Chad Hayes (based on Henry James’ novella “The Turn of the Screw.”)
Stars: Mackenzie Davis, Finn Wolfhard, Brooklynn Prince, Barbara Marten

By Kaiya Shunyata

Reboots and remakes seem to be a never-ending cycle within Hollywood, and it’s safe to say the trend is not going to go away soon. There are instances of shot-for-shot remakes (such as Gus Van Sant’s “Psycho”) and then inventive reimaginings such as Luca Guadagnino’s “Suspiria”. More than not, though, remakes seem to fall flat – especially in the horror genre. Based on Henry James’ classic novel “The Turn of the Screw,” Floria Sigismondi’s “The Turning,” (2020) begins with the striking image of a winding eye set to the beat of a clock. It quivers as the ticking gets louder, then finally with the sharpest tick, comes to a standstill as it stares at the viewer in fear. It’s a compelling opening which promises a twisted tale filled with striking imagery.

“The Turning” has a typical horror narrative: Kate (Mackenzie Davis), isn’t finding fulfilment with her teaching job, and decides to accept a remote job as a nanny. She arrives at her new place of employment – a stunning and sinister mansion – and begins to realize things are not quite normal here. Flora (a charismatic Brooklynn Prince) the youngest child, cannot leave the property, and Miles (Finn Wolfhard) is back home after a violent incident that occurred at his boarding school. Along with the children, a harsh Mrs Grose (Barbara Marten) haunts the hallways of the house with her disdain for Kate. As the film progresses, Flora becomes more of a mystery, and Miles becomes more of a tyrant – propelling Kate into madness. At the core of the film, is also the mystery of what happened to the children’s previous nanny, and their horse master – Quint – who’s memory taints the mansion and Miles.

thr turning
Mackenzie Davis, Finn Wolfhard, and Brooklynn Prince in The Turning (2020) © Universal Pictures and DreamWorks Pictures

“The Turning” is a film that suffers from an uncertain vision. It feels as if this horror film doesn’t know what it wants to be: is it a story about toxic masculinity? a tale about repressed desire? or is it a mystery in line with the #MeToo movement?

The film starts off strong, as Kate begins to search for the truth about what happened to her predecessor, but then it becomes clear that “The Turning” is a film that suffers from an uncertain vision. It feels as if this horror film doesn’t know what it wants to be: is it a story about toxic masculinity? a tale about repressed desire? or is it a mystery in line with the #MeToo movement? All of these aspects are present within the film, but instead of playing with these intriguing threads, it casts them aside. There are incessant and berating jump scares, that for the first half of the film, happen so often it feels like you’re getting whiplash. Noises come from every which way, and in the end, there is nothing scary about them other than the obnoxious sound design. Then, towards the end of the film, it feels as if it’s not even attempting to scare the audience anymore, but rather purposely confuse and frustrate them.

the tunring mac
Mackenzie Davis in The Turning (2020) © Universal Pictures and DreamWorks Pictures

Although it is only January, the final act of “The Turning”, is definitely going to be remembered as one of the most baffling cinematic decision of 2020 (and perhaps the decade). The film seems to be wrapping up and leading to what feels like victory: Kate has discovered what happened to the previous nanny and what has been influencing Miles’ psychosexual outbursts, and musters up a plan to leave the estate.

The Turning” is in no way all bad, though. David Ungaro’s cinematography is lush and vivid, which puts the film ahead in the ranks of many modern horror films.

As it appears it’s about to end, the film rears back and does a complete 180, presenting the audience with a shocking and honestly baffling scenario. Then, this new reality the audience is thrown into, is revealed to perhaps be something completely different from what the film was originally attempting. The whole third act is convoluted on its own, but to put the cherry on top, just when it seems like there might be an explanation for these baffling choices, the film abruptly cuts to black.

“The Turning” is in no way all bad, though. David Ungaro’s cinematography is lush and vivid, which puts the film ahead in the ranks of many modern horror films. Ungaro utilizes the vast expanse of the estate and turns it into a hunting beast with a mind of its own. There are particular stunning shots – all which take place outside on the grounds, and the underwater sequences are particularly striking.

the turn
Mackenzie Davis and Brooklynn Prince in The Turning (2020) © Universal Pictures and DreamWorks Pictures

Along with Ungaro’s vision, comes the film’s soundtrack, which is stacked with names from Mitski to Alice Glass. The few tracks that are actually immersed within the film – such as Mitski’s “Cop Car,” which emulates the same vibe as Sound Garden’s “Black Hole Sun” – fully propel the film into a story about angst and desire. But again, the film falters here, and shies away from being a moody “period piece,” and succumbs to what feels like studio meddling. “The Turning” starts off as a promising reimagining of an old classic, as it weaves itself down a winding road of mystery. But, once that mystery is unravelled, instead of veering to either side of the winding road, the film comes to an abrupt and unsatisfying halt.

2.5 stars