by Dan Fields
First published March 23, 2013 by the California Literary Review
Bad Girls Go Everywhere
Harmony Korine’s work has never been, and may never be, easy to digest. The writer and director of such dreary, stomach-turning misfit dramas as Gummo, Julien Donkey-Boy and Trash Humpers has now completed his most mainstream, accessible film to date, but that still gives Spring Breakers elbow room to assault the senses and values of an audience without mercy.
We begin on the grounds of a nearly empty college campus. Faith (Selena Gomez), embodying the struggle between strong traditional values and a restless teenage spirit, has elected to set out on a classic Florida spring break trip with her wild-side friends Candy (Vanessa Hudgens), Brit (Ashley Benson), and Cotty (Rachel Korine, wife of the director). Faith ostensibly has a benign and constructive wish to broaden her horizons, even as her church friends warn her about the dangers of falling in with the wrong people far from home. Whatever heights of liberty and abandon she expects from spring break, she appears to operate under the optimistic illusion that good clean fun will win out, or at least that four friends sticking together could not possibly let any harm come to one another.
Faith is soon to learn that her chosen companions have a more reckless agenda in mind. Surely she must have wondered at their inclination to practice making out with one another, for when boys will inevitably ask them to do so. If not, then alarm bells ought to have sounded within once the group decided to stage an armed heist in order to supplement their vacation fund. Surely. No? Okay, we are criminals now. But it’s Spring Break! Kids are expected to overcome inhibitions and push boundaries. How much further, Faith must suppose, could things really go? Continue reading