Throughout, Korine sends a warning shot of things to come by repeatedly closing the film’s leering, slo-mo party scenes with the slinky clunk-click of a loaded gun. The girls, naturally, see him as a life coach. He’s a grotesque, corrupt hip-hop caricature. What we are treated to is another pungent weird-out from James Franco, going the full Drexl as Alien, a cornrowed gangsta drooling through a harmonica of silver teeth. Only Gomez’ Faith seems to truly register, struggling to consolidate the debauchery with her church girl roots. For former Disney stars Vanessa Hudgens and Selena Gomez, it’s a chance to trash their prom gowns and engage in simulated drug abuse and slippery threesomes, although the characters are as thin as their bikini strings. It’s tempting to see this as Korine’s 21st-century Kids, relocated to neon Florida, the ground zero of America’s wasted youth. ![]() Korine’s ear for slurry improv adds a fresh, authentic kick. ![]() It’s also, by a considerable stretch, Harmony Korine’s most mainstream feature to date, capturing a college girls’ debauched break in hot, gruesome, grinding detail. Pitched somewhere between art installation, sexploitation and MTV Pool Party Gone Bad, Spring Breakers wears its controversy on its fluorescent thong - an abstract, deliberately monotonous extreme teen movie that, nonetheless, fizzes with a hypnotic charge.
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