For all the sun-scathed bacchanalia that the title promised, the working-out is a mere slippery slope of crime—the women at least, three of them get the money for the spree by holding up a fast-food joint and so they arrive at the beach as something of a band apart, differentiated from the other kids by those extreme measures and riper for some headier gangster action than they themselves expected. The movie suggests that its spring breakers—especially its two most audacious—are getting, guns ablaze, the education of their life, and that college itself is, rather, the permanent vacation where privileged young people stay clear of the raw realities of America. Korine presents the divide in experience essentially in racial terms.
The girls of Spring Breakers from left, Ashley Benson, Vanessa Hudgens, Rachel Korine and Selena Gomez live in the kind of fluorescent world where skimpy bathing suits fit within court appearance dress codes.
Harmony Korine has built a career by alienating audiences. His directorial debut, Gummofollowed teenagers in Xenia, Ohio, killing cats, sniffing glue, and having sex with prostitutes. Then came julien donkey boyabout a schizophrenic who impregnates his sister. These films are half art house cinema, half aesthetic stunt.
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