"At once blunt and oblique, “Spring Breakers” looks different depending on how you hold it up to the light. From one angle it comes across as a savage social commentary that skitters from one idea to another — white faces, black masks, celebrity, the American dream, the limits of self-interest, the search for an authentic self — without stitching those ideas together. From another it comes off as the apotheosis of the excesses it so spectacularly displays. That Mr. Korine appears to be having it both (or many) ways may seem like a cop-out, but only if you believe that the role of the artist is to be a didact or a scold. Mr. Korine, on the other hand, embraces the role of court jester, the fool whose transgressive laughter carries corrosive truth. He laughs, you howl."
Seriously, have you seen this movie yet? The thing that makes it work is that it’s utterly devoid of judgement. If Korine started moralizing or presenting a point of view or doing anything to skew the viewer’s take, it would have fallen flat. It would come across as arch or heavy handed or absurdist.
But as it is…you get to make up your own mind. Is it a parable of American excess? Is it a metaphor for race and segregation and geographic divides? Is it a reflection of a youth culture we’d rather ignore? Or is it simply a good riotous spring break romp? Make up your own mind.
I’ll tell you, though, the scene where Faith (Selena Gomez) freaks out after leaving the clink was pretty on the nose. The girls’ activities from pre-slammer days were essentially identical — booze, drugs, gambling, groping, partying. But the party moved out of the hotel to the hood and the color of the revelers changed. That moment felt pretty real — you totally understood why Faith wanted to go home so badly and felt so uncomfortable, but you had to ask yourself what exactly had changed to create that feeling, and why you sympathized.
(Source: The New York Times)