Needing little urging from the gentlemen on Florida’s Gulf Coast, young women booze on the beach, merrily expose their siliconed breasts and fellate red-white-and-blue lollipops, all to fulfill the hedonistic edicts of videos and MTV. Three college girls, stuck at school and short on cash, simply must be in Tampa, so they don ski masks and rap-master gestures and rob the patrons of a Chicken Shack.

“Don’t be scared,” the girls tell themselves before the big heist. Pretend you’re in a movie.” (MORE: TIME’s Cannes review of Kids) ; and that it’s a satire of the whole genre — indeed, of the American dream of sex, drugs, rock ‘n’ roll and eternal nubility.

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Faith sees the light and heads for home, another girl takes a bullet, and the remaining pair turn out to be gunslingers of the most violent order.

A pop-art junk movie, Spring Breakers does reveal an artist at work: French cinematographer Benoît Debie, who filmed Gaspar Noé’s truly transgressive Irréversible and Enter the Void.


It’s a canny mixture of satire and sell-out, if there’s even any difference between the two in a movie age where excess and irony have become incestuous twins.

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Saturating the images with a neon tinge and supervising a sensational reverse-crane shot of revelers by the hundreds at a pool party, Debie gives Spring Breakers a great look, even if the movie’s mind is nearly as wasted as Alien’s.

(MORE: TIME’s Review of ) Destructive kids with wasted minds were the focus of Korine’s last effort, the suicidal-career movie Trash Humpers, which the Village Voice’s J.

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