erik lundegaard

Spring Breakers

Spring Breakers (2013)


It takes a particular kind of talent to make tits and ass this boring, but apparently writer-director Harmony Korine, who gave us the powerful “Kids” in 1995, is that kind of talent.

“Spring Breakers” is an arthouse version of an exploitation flick. That almost makes it sound interesting but “Spring Breakers” is not. It’s dull, atmospheric, repetitive. It’s about four college girls—three rowdy blondes and one Christian brunette, Faith (Selena Gomez)—who do what they can to go from wherever they are to St. Petersburg, Fla., for spring break. In a way it’s about the bastard children of Britney Spears and George W. Bush, the ones who grew up watching her videos and hearing snippets of his speeches, and drew all the appropriate lessons about looks and smarts.

Written byHarmony Korine
Directed byHarmony Korine
StarringJames Franco
Vanessa Hughes
Selena Gomez
Ashley Benson

It’s our past come back to haunt us, y’all.

The unreal real thing

What do the girls do in St. Pete? Ride scooters, go to the beach, party hardy. There’s beer bongs and dancing and not much dialogue. It’s hypnotic and dreamlike. They need this, these girls. They need to get away. From studying. About history and shit. An early good scene shows two of them, Candy and Brit (Vanessa Hudgens and Ashley Benson), as the professor goes on about ... is it the civil rights movement? The girls stop listening to draw a dick on their notebooks and take turns mock licking it. Then they put on ski masks and rob a diner to come up with the scratch for the trip.

For some reason, amid all the partying in St. Pete, they get singled out for arrest—or maybe they’re just part of the long line of kids busted that evening—but either way they wind up before the judge and then in jail and then bailed out of jail by Alien (James Franco), a local rapper and wannabe gangster. And at this point we think this: comeuppance. We think: These college girls tried to be what they weren’t—tough and bad ass—and now they’re dealing with the real thing; and now they’re going to pay. That’s the direction we seem to be going in. When Alien tries to seduce Faith, leaning in close, insinuating, it’s super creepy, and she begs the others to leave with her. They don’t. So she gets on the bus alone and gets out of Dodge. Why don’t they? Because they like it. Because they’re the real thing. At least two of them.

A key scene (although there really aren’t many scenes) is when these two, Candy and Brit, tell Alien how they robbed the diner, and how they yelled at everyone to get on the fucking floor, and they do this with Alien. They use his guns to tell him to get on the fucking floor. They put the gun in his mouth. They make him suck it. It’s sexy, actually, our first sexy scene in the movie, and it reverses the power structure within the movie. Suddenly they seem like the real deal and he seems the fake: the sad white boy with cornrows and gold-capped teeth who buys into gangsta culture.

Alien is in the midst of a turf war with a childhood friend and mentor, Archie (Gucci Mane), and they exchange words, and off of one bridge, gunfire. Cotty (Rachel Korine), the third rowdy blonde, gets hit, and scared, and goes back home, wherever that is. That leaves two. And Alien, who used to have a bit of a posse, at least the creepy ATL Twins (Sidney and Thurman Sewell), attacks Archie’s well-guarded compound with only himself and the two girls wearing pink ski masks. It’s all hallucinatory and in slow-mo, and Alien, that faker, never makes it off the dock. He’s killed fast. The two girls? They take out everyone else, including Archie, without a scratch, without splattered blood. Apparently Archie's a faker, too. No one's the real thing here. Then they ride out of Dodge in Alien’s Ferrari and into the sunset.

The unhappy happy ending

Is it a happy ending? Maybe it’s a play on a happy ending. It’s a fake, wish-fulfillment ending with a fake, arthouse tone. It’s the worst of both worlds.

I know others disagree. “Spring Breakers” is making a lot of 10-best lists. Certain critics see something profound in its awfulness: in the way it subverts the male gaze, or in its implied condemnation of the vapidity of our culture. I just hated it. How do you make a movie about the utter vapidity of our culture without being vapid? This was Harmony Korine’s attempt. Next.

—December 14, 2013

© 2013 Erik Lundegaard