Spring Breakers has more in common with The Tree of Life than with Superbad. That’s something that should be understood up front. It also is completely different from either of those examples. It’s something of its own. Entirely. Anyone who’s seen it knows what I mean. It jumps around the chronological map, cutting scenes every which way, interspersing various lines and images from moments we’ve witnessed already or some we have yet to witness. It’s probably about as jarring to the linear mind as 3D is to the eyes, but like with 3D, you can get used to it after a while. And once you do, it really starts to pop.
The main aspect of the movie that jumps at you, though, is the soundtrack. From the opening shots, your ears are pounded with the sound of Skrillex accompanying these writhing images of bodies on a beach, gyrating in slowed down rhythms to make them look like grotesque dancers. The electronic sounds continue throughout thanks to music from Cliff Martinez, who wrote the fantastic score for Drive, with momentary Britney Spears interludes. In a bizarre way, it works, it pops. It jumps off the screen with life from start to finish, although it’s not the most pleasant life you’ll see represented on screen. Several critics have also noted that any time you feel like you’re starting to be drawn in to the world of these characters, the structure of the movie keeps you at an arm’s length. You are meant to observe this, not to revel in it. To think critically. This is unmistakable and makes the whole thing far more interesting and makes you feel less guilty for enjoying it.
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