• If John Waters is the “King of Trash” Korine is his heir. Gummo has a good reputation (top 1000 on TSPDT) but I don’t see it — there’s some form there but it’s ugly to look- Spring Breakers on the other hand, Korine’s fifth film, is a triumph and one of the best films of 2012
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  • It’s trash, but the form is Korine’s strongest (repetition and variation) and it’s beautiful to look at with his stunning use of neon
  • Rhythmically edited
  • Korine said himself he was influenced by Michael Mann—specifically 2006’s Miami Vice– the colors and photography—this is very Florida (pastels)—very beautiful (the boat shot at the end it’s hard not to think of Mann’s film)
  • The “Spring Breakers” title itself is art
  • Slo-mo montage opening – Girls Gone Wild meets Terrence Malick
  • It isn’t just the debauchery that’s filmed in gorgeous neons, Korine sets it up with formally/visually) with a great shot of the laptops in the classroom- again, this is clearly a photographer’s eye
  • Another one is the stunning stain-glass window at the church
  • DP is Denoit Debie from Gaspar Noe (a cousin to Korine in terms his provoker status)’s Enter the Void
  • The music – Cliff Martinez – worked with Nicolas Winding Refn the year before in Drive (2011). Martinzez worked with Soderbergh often prior 
  • Korine didn’t invent the use of neon in cinema by any means (Blade Runner, Mario Bava, Argento, WKW, Godard amongst others) but that doesn’t mean it’s beauty isn’t worthy of praise.
  • 35mm
  • The style (very much like Malick actually) matches the narrative- it’s a kaleidoscope or tone poem—dream-line, repeats images, repeats lines, great photography, – clearly a film constructed in the editing room, guns, bikinis, money, literally saying lines like “spring break” and “scaredy pants” over and over
  • Great shot of the first robbery of the chicken restaurant form the car like Gun Crazy (1950 form Joseph Lewis)— long take, neon around the windows
  • Selena Gomez character (who just drops off—narratively there are some issues here) is reading her leaders to her Grandma like Charlie Sheen in Platoon
  • Very avant-garde—Malick, music, editing, photography— it walks that fine line of delving into parody
  • “American Dream” in the text a few times- De Palma’s Scarface and capitalism criticism
  • Wish Korine would just drop the ugly camcorder crap completely—this is from his previous films – hard to look at – he doesn’t do it much here thank god
  • The narrative works a little like the Big Bad Wolf with James Franco (really pretty good here though mostly Korine just needs subjects to shoot)—there couldn’t have been a script here
  • The last 10 minute night raid/robbery is gorgeous- pink doc, the drug-dealer’s compound is entirely lit up at night like a neon Christmas
  • HR/MS