The Runaways is a well-made but generic account of the rise and collapse of a musical group. The movie is at its strongest when focusing on the musical elements:

the creation and improvisation of songs, the rehearsals, the concerts. It is also effective in illustrating the friendship/quasi-lesbian romance that blossoms between the two leads. Where it underperforms is in illustrating the home life of the central character, Cherie Currie (Dakota Fanning), and in finding a satisfying stopping point.

The Runaways form in 1975 when guitarist Joan Jett (Kristen Stewart) and drummer Sandy West (Stella Maeve) separately approach manager/agent Kim Fowley (Michael Shannon) and announce their intention to start an all-girl rock band. He puts them together and, after they have practiced and written some material, he helps bring on board the rest of the group: guitarist Lita Ford (Scout Taylor- Compton), bassist "Robin" (a fictional composite played by Alia Shawkat), and singer Cherie Currie, who is described as "the lovechild of Bridget Bardot and Iggy Pop." All the girls are under 19, with Currie being the youngest, just shy of 16. When Kim discovers her, he lets loose with a profanely joyful shout of "Jailbait!" The Runaways are not an overnight success; in fact, in North America, they remain largely below the radar. Overseas, especially in Japan, they are big. Her first taste of fame and its associated pressures lead Currie to seek solace in alcohol and drugs. Eventually, unable to cope, she quits the band.

Sigismondi's primary source material for The Runaways is Currie's autobiography, Neon Angel. (Although it's reasonable to expect that Jett, who gets an Executive Producer credit, provided input.) With this consideration, it's understandable that the movie slants in Currie's direction. She is the only character for which the screenplay attempts to develop a home life. We are introduced to her twin sister, Marie (Riley Keough), and are presented with scenes in which her father is depicted as falling-down drunk. Although Sigismondi's desire is to represent Currie as a fully-formed character, the non-band aspects of her life have a perfunctory, half-developed feel.