![]() ) It also started showing up in “best-of” lists by film columnists and in critical essays in alternative weeklies and film journals around the world.įar from being a great movie, Foxes is an enjoyable period piece that is notable for its time for not being in hysterics about being a teenager. She has a peroxided, doomed rocker-chick look that was revived by the style icon actress Chloe Sevigny. ( Cherie Currie of The Runaways, who plays the ill-fated Annie, came in for special homage. True to the “twenty-year loop” law, hipsters with an insatiable appetite for the looks and sounds of the early ’80s began referencing FOXES in a number of ways, from fashion design to music, graphic design and photography. than other frank, exploratory teenage dramas of the same year, like “Little Darlings” ( 1980 ) with Kristy McNichol and Tatum O’Neal, which is more of a true companion piece.īut when MGM re-isssued the film on home video / dvd a few years ago, a younger generation ( born from the late ’70s to the early ’80s ) discovered and embraced it, creating a revival of interest in the film that far exceeded its reception upon its original release. It was thus forgotten and became a relic of its time, classed more with Skatetown, U. ( “On The Radio” plays over the opening credits.) It didn’t help that the exploding punk scene which immediately followed gained ground quickly and influenced the look of scores of more high school movies to come, quickly dating Foxes‘ sun-hazed ambience of the late ’70s. With murky cinematography, uneven performances and no happy ending, it was promptly forgotten after its release and sank like a stone, not even helped by its Giorgio Moroder music and title track sung by Donna Summer. High School genre, “Rock and Roll High School” ( 1979 ) and “Fast Times at Ridgemont High” ( 1982 ), Foxes was more of a teen drama that dared to bum out its audience with issues of teen pregnancy, drug addiction and death. Released between two movies that became classics of the L. These jaded teens, led by Jodie Foster, would rather “pop a lude” and put on a Boston LP.Įxamining the loosely woven friendships between four high school girls in the San Fernando Valley, each with typical problems of her age – and therefore seemingly insurmountable – Foxes looks at how each personality type copes with life, sex and parents, all of whom are divorced and too busy trying to find themselves rather than guide their children through the rockiest period of their lives. Unlike the high school hellcats twenty years before them, tossing globes out of classroom windows and firing on police officers ( see “High School Confidential” ), Foxes ( 1980 ) is a portrait of teenage torpor at the dawn of the Eighties.
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