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Spring Breakers (2012)
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Director:
Harmony Korine |
COUNTRY
USA/France/Italy/
Japan/Poland |
GENRE
Drama/Crime |
NORWEGIAN TITLE
Spring Breakers |
RUNNING
TIME
93 minutes |
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Producer:
Charles-Marie Anthonoiz
Jordan Gertner
Chris Hanley
David Zander |
Screenwriter:
Harmony Korine |
Review
As
always, Harmony Korine (Kids,
Gummo) has a lot going for him. First of all he has an idea
and a mission: Spring Breakers attacks on two fronts. One is
an in-your-face, narcissism propaganda filled with semi-naked bodies
and all kinds of shallow treats, designed to fascinate, allure and
confuse. The other is an implicit condemnation of all the
aforementioned stuff; Spring Breakers' protagonists are
morally doomed antisocial vermins whose purpose never exceeds their
roles in the film. And so the question to be asked is where does the
one front end and the second begin? And additionally, what do we as
viewers get out of it all? Satire for the sake of satire arguably is
as uninteresting as violence for the sake of violence, and at times
Spring Breakers treads both these paths. The film alternates
between being clever and stupid, relevant and irrelevant,
fascinating and downright loathsome, and the result is an uneven
slight misfire in which the weaker points, such as the repetitive
dialogue and insistent cutting, ultimately become noise instead of
aphorisms and artistic effect, respectively. Korine may have a
point, perhaps a brilliant one, in arguing that today's shallow,
pop-culture-infested youth-generation have lost touch with life's
real meaning (whatever that might be), but if so, his own film is
part of that pop-culture and ends up biting its own tail. Kudos to
the ever-impressive James Franco for an uncompromising performance.
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