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One of the best portrayals of being a teen in the late 70's early 80's. Jodie Foster is simply wonderful as the one who tries to hold all of her friends together through the difficult times of being a teen in Califirnia; actually this could have been set in any city. I lived this life of parties, concerts and excess during this same era. Being 44 and looking back it is like looking back into my own memories of kids I went to school with and the things we experienced. Though the look of this movie is dated, big hair, satin jackets etc, however it certainly is still relevant. Donna Summer's "On the Radio" is such a great song and is a vital part of the fabric of this move. This is movie is so much better than the teen sex farces that seemed to proliferate after this movie came out - because it is a pretty close portrayal of what being a teen at this time was like with absent parents and lots of free time.If you haven't seen it you should...

Boy-crazy Deirdre, virgin Madge, Annie Mallick (Cherie Currie), and Jeanie (Jodie Foster) are best friends in the San Fernando Valley. Jeanie has problems with her single mom Mary (Sally Kellerman). Annie keeps running away from her troubled parents and her policeman father wants to institutionalize her. Brad (Scott Baio) is a guy friend. Madge starts dating older Jay Thompson (Randy Quaid).

In very broad strokes, this is Little Women thrown into the L. A. scene. The female friendships are unbreakable. It's very teenage angst, chaotic, and young girls searching for love. It has quite a few interesting young faces. I do wish for it to pick a story and stick with it. It meanders around. In a way, it's a teenage world. With such a scatter-shot plot, it sometimes does hit on something interesting. I also wonder if it needs a female voice with the writing. The girls do give it a good sense of reality. Cherie Currie and Jodie Foster have magnetic presences. It's an interesting early movie about 80's teen culture.

Despite the presence of the always top flight Jodie Foster, Adrian Lyne's soaper about the desperate lives of four teenage girls living in sunny but suffocating Southern California is hampered by movie of the week cliches and a meandering storyline that never really goes anywhere. Divorces, absentee parents, easy access to alcohol and drugs, and a strong dose of hopelessness and ennui drive the foxes of the title to varying levels of destruction. Unless you were at a particularly impressionable age when you first saw the film, Foxes is likely to feel too deliberate and drawn out. It is fun, however, to take a peek at the performances of Scott Baio, Sally Kellerman, Randy Quaid, Lois Smith, and Cherie Currie (my favorite, though, is Marilyn Kagan as sexually maturing Madge) as well as the histrionics of glammy rockers Angel. Added bonus: Donna Summer sings the theme "On the Radio."

Totally agree with the previous reviewer that screenwriter and co producer Gerry Ayres and director Adrian Lyne took a good, simple story of a difficult friendship between two teenage gals and inflated it to the point where the central conflict between Jeannie and Annie is lost amid a clutter of sub plots, added characters that contribute very little, like Madge and Jay, and a need for every messed up teen girl to have an equally messed up (or worse) parent. Consequently, when we come to the tragic denouement the impact, while not lost, is certainly lessened. Indeed, if it were not for the fine acting of Jodie Foster and Cheri Currie there would be little reason to watch the film at all other than some nice shots of LA in the early 80s, courtesy of cinematographers Leon Bijou and Michael Seresin, that make even Van Nuys appear painterly. Give it a C plus. PS...I like Donna Summer as much as the next guy (or gal) but if they played "On The Radio" one more time I was gonna toss my radio through the goddamn tv screen!

Four teenage girls in a suburb of Los Angeles get into all kinds of trouble: parties, drugs, cops, mixed-up parents, older boyfriends. Jodie Foster, the group's level-headed mother hen, tries keeping everyone together "like a family" (like the family unit she's never had), and the heartbreaking thing about the movie is that she can't. Slowly, everyone grows up and goes away. THAT precise plot point, though underscored throughout, is unfortunately tampered with. Did we really need a long sequence with Scott Baio outracing a car full of thugs on his skateboard? Or an even longer sequence--also with Baio--where Foster has a strange soliloquy about pain as an illusion. Some of the dialogue in fact is downright loopy, and I didn't much care for an edit in the third act which segues clumsily from a death to a wedding. But these are nitpicks in what is basically a very sensitive story about the loss of a tight bond. And Jodie's face at the ending speaks volumes. If viewers do get choked up, the movie has earned this. The film doesn't pander for tears or ask for sympathy--it shows us an example of friendship and hopes we understand. *** from ****