Why is spring breakers so bad

Okay, the answer to this one is most likely yes:. Locals are insisting it's not, according to The Tampa Bay Times. The A. Club called it "hyperbolically stupid in the usual Korine fashion" at the Toronto Film Fest.

Along with everything else. Skip to content Site Navigation The Atlantic. Popular Latest. The Atlantic Crossword. The layered soundtrack by Skrillex and Cliff Martinez at once generates a sense of trouble and the giddy excitement of newfound freedoms.

It would be impossible to replicate any of these textures for the reductive format of a mobile series. The movie was a subversive masterstroke. A cheap series would be the antithesis of that. Any attempt to copy that would become the very thing it so eloquently deconstructs — a vapid spectacle of party life.

You can find plenty of real-life examples of that on YouTube. The movie has fans. They are dedicated, loud, virulent — and likely to speak out against the series at every available opportunity.

Others see it as a wild party movie. In short, whether the life is criminal or not, the decision is to encourage the psychopath in oneself, to explore that domain of experience where security is boredom and therefore sickness, and one exists in the present, in that enormous present which is without past or future, memory or planned intention, the life where a man must go through until he is beat, where he must gamble with his energies through all those small or large crises of courage and unforeseen situations which beset his day, where he must be with it or doomed not to swing….

And the soundtrack of music that keeps the whole crowd of spring breakers dancing, leaping, and writhing makes their break-time look like a real-life music video. Korine enfolds his actors in a quasi-documentary context and films them with the uninflected signifiers of authenticity—authentic views of a self-conscious artifice.

Whether Korine films half-naked young women exulting on the beach or gunslingers in the heat of conflict or characters reflecting in moments of pensive stillness, he seems to be miming the gesture—this is how, if he had wanted to convey such pleasures, such drama, or such emotion, he might have done it.

The closer one gets to the movie, the further it recedes. In his view, his characters never had a chance—and neither does his audience, which laps it up.