3/5 stars

Since his debut writer/director credit for Gummo, Harmony Korine has been no stranger to mixed reviews. Accusations of ‘all style, no substance’ have been met with a self-assured shrug of the shoulders, and in Spring Breakers, Korine has produced his most commercial film yet. Featuring a cast of Disney Channel alumni as rebellious bikini-clad armed robbers and James Franco as a gangster named Alien, it’s fair to say that the film can appear shallow on the surface, a sea of scantily-clad women and reckless drug and alcohol consumption in idyllic Florida. Teenagers will be able to relate to the scenes of debauchery, and some may even argue they are tame compared to Call Lane on a Saturday night. Yet the film has caused an uproar amongst conservative groups, cited as an example as everything that is wrong with Hollywood; a vacuous, self-absorbed attempt at ‘art’.

And perhaps it is. Spring Breakers is oddly self-aware, bombarding the audience with repeated images of the sex and drugs and rock and roll lifestyle that the girls covet, interspersed with the ominous sound of a cocking gun. It’s difficult at times to decide if the film is taking itself seriously, or presenting to the audience all that is problematic about Generation Y’s ‘YOLO’ culture. There is little character development between the female characters, with only Selena Gomez really established with an identity – though perhaps Korine relies on their prior credentials as Disney kids to create an uncomfortable familiarity in the audience. Franco is refreshingly original and completely absorbed as a white boy playing at being Scarface. What cannot be denied, however, is that the film looks amazing, a nauseating neon nightmare set to a score provided by Skrillex and Cliff Martinez (the mastermind behind the music for 2011’s Drive).

As is to be expected, Spring Breakers builds up to a dramatic gun-toting finale, perhaps a little unsatisfying to some, but in keeping with the pop-culture vacuum that the film comes to be. Also look out for a fantastic Britney Spears montage that for me was the highlight of the film. Spring Breakers is unlikely to resonate with audiences thanks to how shallow it appears, but to others it will appeal and undoubtedly gain cult classic status. Is Korine making a serious comment about pop culture, or just revelling in being a part of it? There’s no answer to that question. Playing out like an 80s B-movie at times, this is not art house cinema; this is an assault on the senses in Nike hi-tops. Spring Break forever, kids.

Hannah Woodhead