Spring Breakers

Whether [it] is a great movie or an uncommonly accomplished bit of fraudulence is an eye of the beholder thing, but there’s something to be said for a film that somehow captures and enshrines an era’s attention-deficit aesthetic...

Is it social commentary on today's young adult culture? I don't see how. Is it satire? I surely wish it was. Instead this was an earnest try at something...I don't know what.

Spring Breakers is a crowd-pleaser, although given its confounding creepiness, the crowd it pleases most is surely the forty-year-old filmmaker's intellectual fan base.

From it's pointless script, sloppy acting and dreadful direction, Spring Breakers is not nearly as profound as it pretends to be.

Korine's latest hallucinogenic young adult frolic Spring Breakers is the first of the director's works I've responded to in any sort of moderately positive fashion.

Behind the film's vacuous candy-colored outer shell are ambiguous and morally challenging concepts.

Somebody please nominate James Franco for some sort of award. His character of Alien in Spring Breakers was perhaps the most entertaining character we saw all year.

It’s Bonnie and Bonnie and Bonnie and Clyde with Day-Glo color, teen exhibitionism, and gangsta street violence, with a pop music score and a hip-hop mixmaster soundtrack and editing style.

Its juxtaposition of sound and imagery is stunning.

Korine uses Gomez and Hudgens like Godard used Fonda in Tout va Bien: Symbols the film flips to its favor and against... they become sympathetic [fast] and turn into superheroes that seem to have escaped a white trash Barbarella. [Full review in Spanish]