Last weekend, potentially millions of party-happy bros and sorority girls went to see "Spring Breakers," expecting those two hours in the dark to be, well, much like their ideal spring break: bikinis, beaches and some light-hearted fun. And you couldn't blame them - the promotional materials for "Spring Breakers" have perfectly honed the look of an innocent mix between a teen movie and "Grand Theft Auto: Vice City" (2002), with images of their favorite teenyboppers Selena Gomez and Vanessa Hudgens in neon bikinis, partying with James Franco. For many teen audiences, this film seemed like the perfect way to kick off the partying of spring break. However, the R-rating for the film spoke to something much more menacing. Indeed, "Spring Breakers" is distinctly subversive, luring audiences in with bright lights and magnetic music only to spear them with shocking social commentary about their lives and the culture they perpetuate.
The director of the film, Harmony Korine - writer of the infamous "Kids" (1995) and director of two of the weirdest films ever made, "Gummo" (1997) and "Trash Humpers" (2009) - has essentially created a sight and soundscape of our generation's obsession with material things and adventurous debauchery. Korine intentionally creates characters that are naive but powerful, sexy but scared, horrifying and hysterical. The film is marked by people who are beautiful, powerful and oftentimes pounding electronic beats that never stop - as well as images of parties with excessive amounts of alcohol and drugs. Yet, just beneath the surface of the sun-drenched party, you'll find Harmony Korine weaving a nightmare of the American dream.
"Spring Breakers" opens just where expected - on a beautiful beach with beautiful half-naked people dancing to the very beautiful synth riff off Skrillex's frenetic track "Scary Monsters and Nice Sprites" (2010). But just as the audience is settling in to some fun in the sun, the song rips open, bombarding the theater with harsh, hellish dubstep to complement the gaudy explosion of naked tan bodies, middle fingers and beer bongs on screen. This hilarious, terrifying opening scene encapsulates the whole film's tone. It's as if Korine has kidnapped us, force-fed us a hallucinogenic and thrown us into an MTV spring break party, forcing us to see the whole thing in a different, dystopian light.
Most obviously, the film drips with blood-red commentary on how our overly-materialistic culture has made young people shallow, desensitized, violent and spiritually and morally empty. Truly, Korine's film can be categorized alongside great American capitalist critiques such as "There Will Be Blood" (2007) and "Citizen Kane" (1941). "Spring Breakers" highlights the fleeting happiness that money, sex, beautiful homes and drugs provide, even though they bring no lasting satisfaction. Most horrific of all, Korine suggests that even after we reach the pinnacle of wealth and debauchery, nothing has really changed.
With spectacular performances by James Franco and Rachel Korine, "Spring Breakers" is much more than the preteen joy ride that is was billed to be. Rachel Korine, the wife of the writer and director, portrays a sloppy and striking femme fatale, robbing and killing mercilessly with a thick coating of hard sugar. Ultimately, audience members will be forced to take stock of who they are in relation to the characters and how their perception and interaction with popular culture defines who they are. Harmony Korine has been known for pushing the boundaries with the films he chooses to make, and "Spring Breakers" is among Korine's most irreverent, despite being his most publicized undertaking yet. Although many have dismissed "Spring Breakers" as a bizarre and boring attempt at something more, the social commentary, laughter and fear that Korine imparts is entirely unique. Whether or not you enjoy the film, you will certainly leave the theater laughing, but thinking too.
