Misplaced Pages

#52947

103-448: Spring Breakers is a 2012 American crime comedy film written and directed by Harmony Korine and starring James Franco , Selena Gomez , Vanessa Hudgens , Ashley Benson , Rachel Korine , and Gucci Mane . Gomez, Hudgens, Benson, and Korine portray four college-aged girls who go on spring break in St. Petersburg, Florida and meet an eccentric local drug dealer (Franco) who helps them in

206-468: A drive-by shooting , wounding Cotty in the process. Alien promises to retaliate, but a traumatized Cotty comes to her senses and chooses to follow in Faith's footsteps, returning home. Brit and Candy stay behind and have three-way sex with Alien in his pool. The three of them decide to take revenge on Big Arch. In a flashforward, the two girls call home, promising to work harder and become better people. In

309-416: A Hollywood feature went from $ 20,000 in 1914 to $ 300,000 in 1924. Silver and Ursini stated that the earliest crime features were by Austrian émigré director Josef von Sternberg whose films like Underworld (1927) eliminated most of the causes for criminal behavior and focused on the criminal perpetrators themselves which would anticipate the popular gangster films of the 1930s. The groundwork for

412-539: A Nazi Spy ; Knute Rockne, All American ; Blues in the Night ; Yankee Doodle Dandy ; Casablanca ; Action in the North Atlantic ; Gentleman Jim ; and They Drive by Night . Siegel told Peter Bogdanovich how his montages differed from the usual ones: Montages were done then as they're done now, oddly enough—very sloppily. The director casually shoots a few shots that he presumes will be used in

515-488: A bravura James Franco performance." At Metacritic , which assigns a weighted mean rating from film critics, it received a rating score of 63 out of 100 based on 40 critics, indicating "generally favorable reviews". Xan Brooks of The Guardian said the film is Korine's "most fully realised, purely satisfying feature film since Gummo ." Emma Seligman of The Huffington Post described the film as " Scarface meets Britney Spears ." Oliver Lyttlelton of IndieWire gave

618-478: A broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama (film type) crime film (super-genre) that is also a noir (pathway) mystery (macro-genre). The definition of what constitutes a crime film is not straightforward. Criminologist Nicole Hahn Rafter in her book Shots in

721-505: A change signaled by films like Chinatown (1974) and The Wild Bunch (1969) noting that older genres were being transformed through cultivation of nostalgia and a critique of the myths cultivated by their respective genres. Todd found that this found its way into crime films of the 1980s with films that could be labeled as post-modern , in which he felt that "genres blur, pastiche prevails, and once-fixed ideals, such as time and meaning, are subverted and destabilized". This would apply to

824-471: A character engaging in physical or sports training, the form has been extended to other activities or themes. The standard elements of a training montage include a build-up where the potential hero confronts his failure to train adequately. The solution is a serious, individual training regimen. The individual is shown engaging in training or learning through a series of short, cut sequences. An inspirational song (often fast-paced rock music ) typically provides

927-575: A conservative era. For crime films, this led to various reactions, including political films that critiqued official policies and citizen's political apathy. These included films like Missing (1982), Silkwood (1983), and No Way Out (1987). Prison films and courtroom dramas would also be politically charged with films like Kiss of the Spider Woman (1985) and Cry Freedom (1987). While films about serial killers existed in earlier films such as M (1931) and Peeping Tom (1960),

1030-454: A crooked shell" and portrayed gangsters who showcased the "romantic mystique of the doomed criminal." The 1940s formed an ambivalence toward the criminal heroes. Leitch suggested that this shift was from the decline in high-profile organized crime, partly because of the repeal of Prohibition in 1933 and partly because of the well-publicized success of the FBI. Unlike the crime films of the 1930s,

1133-489: A cross between Bo Derek in 10 and Richard Kiel in Moonraker ." Andrew Schenker of Slant Magazine gave the film 3 out of 4 stars. Jamie Dunn of The Skinny gave it 4 out of 5 stars, saying: "If Michael Mann was to take a lot of hallucinogenics and shoot a Girls Gone Wild video, it might look something like this." Richard Roeper of Rogerebert.com gave the film three-and-a-half stars out of four, praising

SECTION 10

#1732786812053

1236-539: A film cliché . A notable parody of the training montage appears in the South Park episode, " Asspen ". When Stan Marsh must become an expert skier quickly, he begins training in a montage where the inspirational song explicitly spells out the techniques and requirements of a successful training montage sequence as they occur on screen. It was also spoofed in Team America: World Police in

1339-484: A film described as "crime/ action " or an "action/crime" or other hybrids was "only a semantic exercise" as both genres are important in the construction phase of the narrative. Mark Bould in A Companion to Film Noir stated that categorization of multiple generic genre labels was common in film reviews and rarely concerned with succinct descriptions that evoke elements of the film's form, content and make no claims beyond on how these elements combine. Leitch, stated that

1442-401: A giant tongue". According to Rolling Stone , the film presents "a kind of girl-power camaraderie that could almost be called feminist," a result of the director's intent to "do the most radical work, but put it out in the most commercial way (...) to infiltrate the mainstream". In his review of the film, Richard Roeper wrote: "Korine's camera is nearly an intrusive weapon as he lingers over

1545-554: A group of well-known young actresses with a similar reputation to Roberts in Hollywood. Ashley Benson was ultimately cast instead after Roberts dropped out due to her being uncomfortable with the film’s explicit sexuality. The film was shot in March and April 2012 in and around St. Petersburg, Florida . The exterior shots and some interior shots of the college where Gomez and Benson attend were filmed at New College of Florida , while

1648-486: A large amount of information to an audience over a shorter span of time by juxtaposing different shots, compressing time through editing, or intertwining multiple storylines of a narrative. The term has varied meanings depending on the filmmaking tradition. In French, the word montage applied to cinema simply denotes editing. In Soviet montage theory , as originally introduced outside the USSR by Sergei Eisenstein , it

1751-590: A limited release in the U.K. on April 5, 2013. The movie was also released in France on March 6, 2013 and was scheduled to be released in Australia in early March, however was pushed back to a release date of May 4. Spring Breakers was released digitally on June 25, 2013, and on DVD and Blu-ray on July 9, 2013. Spring Breakers grossed $ 14,124,284 in North America and $ 17,600,000 in other countries for

1854-491: A locker of the Hollywood Athletic Club. The Asphalt Jungle (1950) consolidated a tendency to define criminal subculture as a mirror of American culture. The cycle of caper films were foreshadowed by films like The Killers (1946) and Criss Cross (1949) to later examples like The Killing (1956) and Odds Against Tomorrow (1959). Leitch wrote that these films used the planning and action of

1957-684: A mobster known as The Snapper Kid. Regeneration (1915) was an early feature-length film about a gangster who saved from a life of crime by a social worker. These two early films and films like Tod Browning 's Outside the Law (1920) that deal with the world of criminal activity were described by Silver and Ursini as being gangsters "constrained by a strong moral code". Stuart Kaminsky in American Film Genres (1974) stated that prior to Little Caesar (1931), gangster characters were in films were essentially romances . European films of

2060-535: A psychopathic personality." Drew Todd in Shots in the Mirror: Crime Films and Society described the character as different than films featuring rebellious characters from the 1940s and 1950s, with a character whose anger is directed against the state, mixed with fantasies of vigilante justice. Films like Dirty Harry , The French Connection and Straw Dogs (1971) that presented a violent vigilante as

2163-420: A religious youth group. As their classmates head to spring break, they are stuck behind due to a lack of money. Desperate to make the trip, Brit and Candy, after getting high on cocaine, don ski masks and rob a local restaurant using hammers and realistic-looking squirt guns . They are assisted by Cotty, who drives (and later burns) the getaway car stolen from one of their professors. Cotty, Candy, and Brit divulge

SECTION 20

#1732786812053

2266-470: A remake of The Defiant Ones (1958). The cycle generally slowed down by the mid 1970s. Prison films closely followed the formulas of films of the past while having an increased level of profanity, violence and sex. Cool Hand Luke (1967) inaugurated the revival and was followed into the 1970s with films like Papillon (1973), Midnight Express (1978) and Escape from Alcatraz (1979). When Ronald Reagan became president in 1980, he ushered in

2369-413: A robbery todramatize the "irreducible unreasonableness of life." The themes of existential despair made the these film popular with European filmmakers, who would make their own heist films like Rififi (1955) and Il bidone (1955). Filmmakers of the coming French New Wave movement would expand on these crime films into complex mixtures of nostalgia and critique with later pictures like Elevator to

2472-420: A savior. By the mid-1970s, a traditional lead with good looks, brawn and bravery was replaced with characters who Todd described as a "pathological outcast, embittered and impulsively violent." Hollywood productions began courting films produced and marketed by white Americans for the purpose of trying to attract a new audience with blaxploitation film. These films were almost exclusively crime films following

2575-547: A similar sequence. The music in these training montage scenes has garnered a cult following, with such artists as Robert Tepper , Stan Bush and Survivor appearing on several '80s soundtracks. Songs like Frank Stallone 's " Far from Over ", and John Farnham 's "Break the Ice" are examples of high-energy rock songs that typify the music that appeared during montages in '80s action films. Indie rock band The Mountain Goats released

2678-407: A strip club owned by his rival and childhood best friend, Big Arch, who warns Alien to stop selling drugs in his territory. Alien then takes the girls to his mansion, where he flaunts his drug money and cache of weapons, describing his life as the " American Dream ". Brit and Candy grab two of his guns and threaten to kill him. Aroused, Alien fellates the gun and declares that he has fallen in love with

2781-424: A time of desperation, and their eventual descent into a world of drugs, crime, and violence. Korine had devised the concept over several years prior to production, with fleeting ideas about the plot and what should transpire. His initial desire was to create a " sensory film" that was more about feeling than action and placed little importance on narrative or plot, the idea for which came later. Once Korine developed

2884-609: A variety of challenging endeavors such as flying a jet ( Armageddon , 1998), fighting ( Bloodsport ,1988; The Mask of Zorro , 1998; Batman Begins , 2005; Edge of Tomorrow , 2014), espionage ( Spy Game , 2001), magic ( Harry Potter and the Order of the Phoenix , 2007), and public speaking ( The King's Speech , 2010). The simplicity of the technique and its over-use in American film vocabulary has led to its status as

2987-533: A worldwide total of $ 31,724,284. In North America, the film opened to #6 in its first weekend with $ 4,858,944, behind The Croods , Admission , The Call , Oz the Great and Powerful , and Olympus Has Fallen . On review aggregator Rotten Tomatoes , the film holds an approval rating of 68% based on 199 reviews, with an average rating of 6.6/10. The website's critical consensus reads, " Spring Breakers blends stinging social commentary with bikini cheesecake and

3090-484: A youth pastor and Russell Stuart appears as a DJ. According to Harmony Korine , he wrote the film partially to make up for his own spring breaks, as he had been fully devoted to skateboarding, and therefore missed out on what he saw as opportunities for hedonistic pursuits. Korine has referred to the film as a "beach noir ". The original lineup of lead actresses was announced as Emma Roberts , Selena Gomez and Vanessa Hudgens . Director Korine had purposely collected

3193-402: Is a style of crime film that originated from two cinematic precursors: the gangster film and the gentleman thief film. The essential element in these films is the plot concentration on the commission of a single crime of great monetary significance, at least on the surface level. The narratives in these films focus on the heist being wrapped up in the execution of the crime more or at as much as

Spring Breakers - Misplaced Pages Continue

3296-423: Is different just as crime are different than horror, science fiction and period drama films. Rafter also suggested that Westerns could be considered crime films, but that this perception would only be "muddying conceptual waters." The history of the crime film before 1940 follows reflected the changing social attitudes toward crime and criminals. In the first twenty years of the 20th Century, American society

3399-407: Is extremely uncomfortable. Alien takes the girls to a local club frequented by gang members, where Faith becomes even more uneasy with his lifestyle. Alien attempts to seduce Faith and convince her to stay with him, using equal parts menace, threats, and tenderness, but Faith leaves, begging the others to come with her. They refuse, and she makes the trip home alone. Alien takes the remaining girls to

3502-406: Is usually streamed on internet radio and video is posted on a separate site. Film critic Ezra Goodman discusses the contributions of Slavko Vorkapić , who worked at MGM and was the best-known montage specialist of the 1930s: He devised vivid montages for numerous pictures, mainly to get a point across economically or to bridge a time lapse. In a matter of moments, with images cascading across

3605-600: The 50 best films of the decade (so far) . In August of that same year, BBC Magazine conducted a poll on the 21st century's 100 greatest films so far, with Spring Breakers ranking at number 74. In France, the magazine Les Cahiers du cinéma featured Spring Breakers on their March 2013's cover, and placed it second on their December 2013 Top Ten chart. Spring Breakers was listed on many critics' top ten lists for 2013. On February 15, 2012, Korine contacted rapper Riff Raff about appearing in an upcoming film of Korine's which would later turn out to be Spring Breakers . Once

3708-640: The British Board of Film Censors or conveyed mostly through narration. Box-office receipts began to grow stronger towards the late 1960s. Hollywood's demise of the Hays Code standards would allow for further violent, risqué and gory films. As college students at the University of Berkeley and University of Columbia demonstrated against racial injustice and the Vietnam, Hollywood generally ignored

3811-503: The Federal Bureau of Investigation (FBI) in 1935), promoted bigger budgets and wider press for his organization and himself through a well-publicized crusade against such real world gangsters as Machine Gun Kelly , Pretty Boy Floyd and John Dillinger . Hoover's fictionalized exploits were glorified in future films such as G Men (1935). Through the 1930s, American films view of criminals were predominantly glamorized, but as

3914-606: The Los Angeles Film Critics Association Award for Best Supporting Actor (tied with Jared Leto for Dallas Buyers Club ), National Society of Film Critics Award for Best Supporting Actor , and San Francisco Film Critics Circle Award for Best Supporting Actor, while the Washington D.C. Area Film Critics Association nominated him for its Best Supporting Actor award. A sequel , under the name of Spring Breakers: The Second Coming ,

4017-558: The Soviets and that of Hollywood. The Soviet tradition, primarily distinguished by the writing and film work by S. M. Eisenstein is seen as intellectual, objectively analytical, and perhaps overly academic. Hollywood montage, romantic in the extreme, is written off as a series of wipes , dissolves , flip-flops and superimpositions ..." —Film historian Richard Koszarski in Hollywood Directors: 1914-1940 (1976) One of

4120-1045: The Western film as they lack both the instantly recognizable or the unique intent of other genres such as parody films. Leitch and Rafter both write that it would be impractical to call every film in which a crime produces the central dramatic situation a crime film. Leitch gave an example that most Westerns from The Great Train Robbery (1903) to Unforgiven (1992) often have narratives about crime and punishment, but are not generally described as crime films. Films with crime-and-punishment themes like Winchester 73 (1950) and Rancho Notorious (1952) are classified as Westerns rather than crime films because their setting takes precedence over their story. Alain Silver and James Ursini argued in A Companion to Crime Fiction (2020) that "unquestionably most Western films are crime films" but that that their overriding generic identification

4223-444: The electronica artist's music on YouTube . "I'm accustomed to being the oldest person at a gig," said Poster, "but when I went to see Skrillex at Roseland this year, it was dramatic. There were a lot of kids that looked like they were 15 years old. But I loved it. I truly loved it." Magneto Dayo released the song "Spring Breakers", featuring Sage Odessa, which references the film and real-life spring break experiences. The soundtrack to

Spring Breakers - Misplaced Pages Continue

4326-438: The gangster film as both a genre on its own terms and a subgenre of the crime film. In these films, the gangster and their values have been imbedded through decades of reiteration and revision, generally with a masculine style where an elaboration on a codes of behavior by acts of decisive violence are central concerns. The archetypal gangster film was the Hollywood production Little Caesar (1931). A moral panic followed

4429-407: The "Consider this Sh*t [sic]" theme. Originally, Internet chatter considered the campaign a joke, but A24 has since made it clear that the campaign was indeed serious. Spring Breakers has since appeared on various retrospective "best of" lists, including one honoring the best films of the 21st century. In 2016, British film magazine Little White Lies placed the film at number 40 on their list of

4532-612: The 1940s films were based more on fictional tales with gangsters played by Paul Muni in Angel on My Shoulder (1946) and Cagney in White Heat (1949) were self-consciously anachronistic. Filmmakers from this period were fleeing Europe due to the rise of Nazism. These directors such as Fritz Lang , Robert Siodmak , and Billy Wilder would make crime films in the late 1930s and 1940s that were later described as film noir by French critics. Several films from 1944 like The Woman in

4635-689: The 1980s had an emphasis on the serial nature of their crimes with a larger number of films focusing on the repetitive nature of some murders. While many of these films were teen-oriented pictures, they also included films like Dressed to Kill (1980) and Henry: Portrait of a Serial Killer (1986) and continued into the 2000s with films like Seven (1995), Kiss the Girls (1997), and American Psycho (2000). In an article by John G. Cawelti titled " Chinatown and Generic Transformations in Recent American Films" (1979), Cawleti noticed

4738-652: The 1990s with films like Wild at Heart (1990). Quentin Tarantino would continue this trend in the 1990s with films where violence and crime is treated lightly such as Reservoir Dogs (1992), Pulp Fiction (1994) and Natural Born Killers (1994) while Lynch and the Coens would continue with Fargo (1996) and Lost Highway (1997). Other directors such as Martin Scorsese and Sidney Lumet would continue to more traditional crime films Goodfellas , Prince of

4841-500: The 2019 film The Beach Bum , being open to directing and writing the sequel. Crime comedy film Screenwriter and scholar Eric R. Williams identified crime film as one of eleven super-genres in his Screenwriters Taxonomy , claiming that all feature-length narrative films can be classified by these super-genres.  The other ten super-genres are action, fantasy, horror, romance, science fiction, slice of life, sports, thriller, war and western. Williams identifies drama in

4944-442: The American crime film which began rejecting linear storytelling and distinctions between right and wrong with works from directors like Brian de Palma with Dressed to Kill and Scarface and works from The Coen Brothers and David Lynch whose had Todd described as having "stylized yet gritty and dryly humorous pictures evoking dream states" with films like Blood Simple (1984) and Blue Velvet (1986) and would continue into

5047-522: The City (1980), Q & A (1990), and Casino (1995). Other trends of the 1990s extended boundaries of crime films, ranging from main characters who were female or minorities with films like Thelma and Louise (1991), Swoon (1991), Devil in a Blue Dress (1995), Bound (1996) and Dolores Claiborne (1996). Every genre is a subgenre of a wider genre from whose contexts its own conventions take their meaning, it makes sense to think of

5150-794: The Gallows (1958), Breathless (1960) and Shoot the Piano Player (1960). Following the classical noir period of 1940 to 1958, a return to the violence of the two previous decades. By 1960, film was losing popularity to television as the mass form of media entertainment. Despite To The crime film countered this by providing material no acceptable for television, first with a higher level of onscreen violence. Films like Psycho (1960) and Black Sunday (1960) marked an increase in onscreen violence in film. Prior to these films, violence and gorier scenes were cut in Hammer film productions by

5253-660: The Mirror: Crime Films and Society (2006) found that film scholars had a traditional reluctance to examine the topic of crime films in their entirety due to complex nature of the topic. Carlos Clarens in his book Crime Movies (1980), described the crime film as a symbolic representation of criminals, law, and society. Clarens continued that they describe what is culturally and morally abnormal and differ from thriller films which he wrote as being more concerned with psychological and private situations. Thomas Schatz in Hollywood Genres: Formulas, Filmmaking, and

SECTION 50

#1732786812053

5356-516: The Studio System (1981) does not refer to the concept of crime film as a genre, and says that "such seemingly similar "urban crime" formulas" such as the gangster film and detective film were their own unique forms. Thomas Leitch, author of Crime Films (2004) stated that the crime film presents their defining subject as a crime culture that normalizes a place where crime is both shockingly disruptive and completely normal. Rafter suggested

5459-461: The Window , Laura , Murder, My Sweet and Double Indemnity ushered in this film cycle. These works continued into the mid-1950s. A reaction to film noir came with films with a more semi-documentary approach pioneered by the thriller The House on 92nd Street (1945). This led to crime films taking a more realistic approach like Kiss of Death (1947) and The Naked City (1948). By

5562-486: The best way to skirt complexities of various films that may be defined as crime films as works that focus primarily on crime and its consequences, and that they should be viewed as a category that encompasses a number genres, ranging from caper films , detective films, gangster films, cop and prison films and courtroom dramas. She said that like drama and romance film, they are umbrella terms that cover several smaller more coherent groups. The criminal acts in every film in

5665-601: The box office. The success of the film and its sequel The Godfather Part II (1974) reinforced the stature of the gangster film genre, which continued into the 1990s with films Scarface (1983), Once Upon a Time in America (1984), The Untouchables (1987), Goodfellas (1990) and Donnie Brasco (1997). Dirty Harry (1971) create a new form of police film, where Clint Eastwood 's performance as Inspector Callahan which critic Pauline Kael described as an "emotionless hero, who lives and kills as affectlessly as

5768-431: The character of Jimmy "Popeye" Doyle who Leitch described as a "tireless, brutal, vicious and indifferent" in terms of constraints of the law and his commanding officers. The film won several Academy Awards and was successful in the box office. This was followed in critical and commercial success of The Godfather (1972) which also won a Best Picture Academy Award and performed even better than The French Connection in

5871-585: The character of Alien and the film's sense of humor. A24 began a campaign in September 2013 in support of a Best Supporting Actor Oscar nomination for Franco's performance. This was preceded by the Hollywood.com website that produced a "For your consideration" poster in support of a nomination for Franco in March 2013. On December 2, 2013, A24 published a YouTube video titled "James Franco - Consider this Sh*t" and also released print advertisements following

5974-429: The continual breakdown and re-establishment of borders among criminals, crime solvers and victims, concluding that "this paradox is at the heart of all crime films." Rafter echoed these statements, saying crime films should be defined on the basis of their relationship with society. Leitch writes that crime films reinforce popular social beliefs of their audience, such as the road to hell is paved with good intentions ,

6077-412: The crime film was following changing attitudes towards the law and the social order that criminals metaphorically reflect while most film were also no more explicitly violent or explicitly sexual than those of 1934. White Heat (1949) inaugurated a cycle of crime films that would deal with the omnipresent danger of the nuclear bomb with its theme of when being threatened with technological nightmares,

6180-554: The criminal psychology and are characterized by and emphasis on the crime unfolding often though montage and extended sequences. The genre is sometimes used interchangeable with the term "caper". The term was used for the more dramatic films of the 1950s, while in the 1960s, it had stronger elements of romantic comedy with more playful elements as seen in films like The Thomas Crown Affair (1968) and Topkapi (1964). Leitch described combining genres as problematic. Screenwriter and academic Jule Selbo expanded on this, describing

6283-680: The decade ended, the attitudes Hollywood productions had towards fictional criminals grew less straightforward and more conflicted. In 1935, Humphrey Bogart played Duke Mantee in The Petrified Forest (1936), a role Leitch described as the "first of Hollywood's overtly metaphorical gangsters." Bogart would appear in films in the later thirties: Angels with Dirty Faces (1938) and The Roaring Twenties (1939). Unlike actor James Cagney , whose appeal as described by Leitch "direct, physical, and extroverted", Bogart characters and acting suggested "depths of worldly disillusionment beneath

SECTION 60

#1732786812053

6386-449: The details of their crime to a horrified Faith, who keeps quiet about it. In St. Petersburg, Florida , the girls attend wild beach parties fueled by alcohol, drugs, and sex. After a particularly wild party, all four are arrested for using narcotics. They spend the night in a holding cell , but are bailed out by Alien, a rapper, drug hustler, and arms dealer. Alien charms Cotty, Candy, and Brit with his money and "bad boy" swagger, but Faith

6489-427: The dormitory and classroom shots were filmed at Ringling College of Art and Design . Korine announced in 2013 he planned to "remix" the film's unused footage and alternate takes into an entirely new cut. The film score to Spring Breakers was composed by Cliff Martinez and Skrillex , marking the first scoring assignment for the latter. Skrillex was contacted after Korine sent music supervisor Randall Poster links to

6592-401: The end of the decade, American critics such as Parker Tyler and Robert Warshow regarded Hollywood itself as a stage for repressed American cultural anxieties following World War II. This can be seen in films such as Brute Force , a prison film where the prison is an existential social metaphor for a what Leitch described as a "meaningless, tragically unjust round of activities." By 1950,

6695-415: The end of the press, a pressman looking at a paper) and headlines zooming on to the screen telling whatever needs to be told. In a typical railroad montage, the shots include engines racing toward the camera, giant engine wheels moving across the screen, and long trains racing past the camera as destination signs fill the screen. "Scroll montage" is a form of multiple-screen montage developed specifically for

6798-501: The film a B, stating that the film would be a future cult favorite for " midnight moviegoers ". Guy Lodge of Variety gave it a negative review saying, "this attractively fizzy pic may be a shock to the system for fans of teen queens Selena Gomez and Vanessa Hudgens, but remains pretty toothless titillation by its writer-helmer's standards." David Rooney of The Hollywood Reporter noted that James Franco gives one of his more bizarre performances in his unpredictable career, saying "he's

6901-437: The film as sexist due to its objectification of women, while others viewed the film as a feminist or female-empowerment film. In regard to the former perspective, The Guardian suggests that the film "reinforces rape culture " and "turns young women into sex objects," while other reviewers state that it "pushes booze -and- bikini hedonism to the extreme," as the "camera glides up, down, and around these women's bodies like

7004-526: The film was released on March 19, 2013 by Big Beat Records and Warner Music . A three-minute preview of Spring Breakers was released at the 2012 Cannes Film Festival in May 2012. The entire film premiered at the 69th Venice International Film Festival on September 4, 2012. The film was released in New York and Los Angeles on March 15, 2013. The film was released nationwide on March 22, 2013. The film had

7107-482: The film, describing the beach's beauty and musing that they have discovered who they truly are. Brit and Candy, silent and wearing pensive, ambiguous expressions, drive home in Big Arch's Lamborghini . A final flashback shows the two girls kissing Alien's dead body before departing. Additionally, Heather Morris , Ash Lendzion, and Emma Holzer appear as Faith's friends Bess, Forest, and Heather. Jeff Jarrett portrays

7210-536: The gangster films of the early 1930s were influenced by the early 1920s when cheap wood-pulp paper stocks led to an explosion in mass-market publishing. Newspapers would make folk heroes of bootleggers like Al Capone , while pulp magazines like Black Mask (1920) helped support more highbrow magazines such as The Smart Set which published stories of hard-edged detetives like Carroll John Daly 's Race Williams. The early wave of gangster films borrowed liberally from stories for early Hollywood productions that defined

7313-515: The genre has been popular since the dawn of the sound era of film. Ursini and Silver said that unlike the Western, the horror film, or the war film, the popularity of crime cinema has never waned. Montage (filmmaking) Montage ( / m ɒ n ˈ t ɑː ʒ / mon- TAHZH ) is a film editing technique in which a series of short shots are sequenced to condense space, time, and information. Montages enable filmmakers to communicate

7416-412: The genre represents a larger critique of either social or institutional order from the perspective of a character or from the film's narrative at large. The films also depend on the audience ambivalence towards crime. Master criminals are portrayed as immoral but glamourous while maverick police officers break the law to capture criminals. Leitch defined this as a critical to the film as the films are about

7519-566: The genre with films like Little Caesar (1931), The Public Enemy (1931), and Scarface (1932). In comparison to much earlier films of the silent era, Leitch described the 1930s cycle as turning "the bighearted crook silent films had considered ripe for redemption into a remorseless killer." Hollywood Studio heads were under such constant pressure from public-interest groups to tone down their portrayal of professional criminals that as early as 1931. Jack L. Warner announced that Warner Bros. would stop producing such films. Scarface itself

7622-476: The girls, claiming that they are his soulmates. Alien arms the girls with pink ski masks and shotguns and takes them to his pool, where the girls ask him to play something inspiring on the piano. They sing Britney Spears ' " Everytime ", while a montage plays of them performing several armed robberies. While in Alien's car, they are approached by Big Arch and another member of his gang who threaten them and execute

7725-474: The growing rage against the establishment spilled into portrayal police themselves with films like Bullitt (1968) about a police officer caught between mob killers and ruthless politicians while In the Heat of the Night (1967) which called for racial equality and became the first crime film to win an Academy Award for Best Picture . The French Connection (1971) dispensed Bullitt ' s noble hero for

7828-445: The law is above individuals, and that crime does not pay. The genre also generally has endings that confirm the moral absolutes that an innocent victim, a menacing criminal, and detective and their own morals that inspire them by questioning their heroic or pathetic status, their moral authority of the justice system, or by presenting innocent characters who seem guilty and vice-versa. Crime films includes all films that focus on any of

7931-498: The main gangster Jody Jarrett fights fire with fire. These themes extended into two other major crime films by bring the issues down from global to the subcultural level: The Big Heat (1953) and Kiss Me Deadly (1955) which use apocalyptical imagery to indicate danger with the first film which the film persistently links to images of catastrophically uncontrolled power and the "traumatic consequences" of nuclear holocaust and Kiss Me Deadly literally features an atom bomb waiting in

8034-429: The montage and the cutter grabs a few stock shots and walks down with them to the man who's operating the optical printer and tells him to make some sort of mishmash out of it. He does, and that's what's labeled montage. In contrast, Siegel would read the motion picture's script to find out the story and action, then take the script's one line description of the montage and write his own five page script. The directors and

8137-404: The moving image in an internet browser . It plays with Italian theatre director Eugenio Barba's "space river" montage in which the spectators' attention is said to "[sail] on a tide of actions which their gaze [can never] fully encompass". "Scroll montage" is usually used in online audio-visual works in which sound and the moving image are separated and can exist autonomously: audio in these works

8240-405: The only or first gangster film following the fall of the production code, The Godfather (1972) was the most popular and launched a major revival of the style. The film followed the themes of the genres past while adding new emphasis on the intricate world of the mafia and its scale and seriousness that established new parameters for the genre. The heist film, also known as the "big caper" film

8343-625: The only sound. At the end of the montage several weeks have elapsed in the course of just a few minutes and the hero is now prepared for the big competition or task. One of the best-known examples is the training sequence in the 1976 movie Rocky , which culminates in Rocky's run up the Rocky Steps of the Philadelphia Museum of Art . Although originating in sports films, the training montage has been used to demonstrate training in

8446-430: The original films to innovate montage filmmaking was Abel Gance 's 1927 film Napoléon . The film uses montage throughout and its triptych finale includes a row of three reels of film playing either a continuous image or a montage of separate shots. Sergei Eisentein credited Gance with inspiring his fascination with montage, a technique he would become well-known for: The word "montage" came to identify...specifically

8549-424: The present, the three travel in a motorboat to Big Arch's mansion. After they dock at the pier, Alien is immediately shot and killed by one of Big Arch's guards. Brit and Candy carry on, killing Big Arch's gang before finally confronting and killing Big Arch himself. During the assault and its aftermath, the camera pans over the dead bodies of Big Arch's gang while the girls speak in a voice-over, first heard earlier in

8652-480: The producers were "capitalizing on that innovative film to make money on a weak sequel" and attempting to "make money off someone else's creativity". By 2017, the project had been shelved in favor of a digital series for short-video platform Blackpills; the series never materialized, however, and Blackpills itself shut down after less than two years online. As a result, development on Spring Breakers: The Second Coming had restarted, with Harmony Korine, who would direct

8755-615: The rapid, shock cutting that Eisenstein employed in his films. Its use survives to this day in the specially created "montage sequences" inserted into Hollywood films to suggest, in a blur of double exposures, the rise to fame of an opera singer or, in brief model shots, the destruction of an airplane, a city or a planet. Two common montage devices used are newsreels and railroads. In the first, as in Citizen Kane , there are multiple shots of newspapers being printed (multiple layered shots of papers moving between rollers, papers coming off

8858-434: The release of the early gangster films following Little Caesar , which led to the 1935 Production Code Administration in 1935 ending its first major cycle. As early as 1939, the traditional gangster was already a nostalgic figure as seen in films like The Roaring Twenties (1939). American productions about career criminals became possible through the relaxation of the code in the 1950s and its abolition in 1966. While not

8961-696: The screen, he was able to show Jeanette MacDonald 's rise to fame as an opera star in Maytime (1937), the outbreak of the revolution in Viva Villa (1934), the famine and exodus in The Good Earth (1937), and the plague in Romeo and Juliet (1936). From 1933 to 1942, Don Siegel , later a noted feature film director, was the head of the montage department at Warner Brothers . He did montage sequences for hundreds of features, including Confessions of

9064-536: The silent era differed radically from the Hollywood productions, reflecting the post-World War I continental culture. Drew Todd wrote that with this, Europeans tended to create darker stories and the audiences of these films were readier to accept these narratives. Several European silent films go much further in exploring the mystique of the criminal figures. These followed the success in France of Louis Feuillade 's film serial Fantômas (1913). The average budget for

9167-474: The small budget. It received generally positive reviews from critics with praise for the acting and Debie's cinematography especially, with some also calling it a potential cult classic . The film was selected to compete for the Golden Lion at the 69th Venice International Film Festival . Critics and scholars have read deeper meaning in the plot, commenting on its reflection of modern-day superficiality and

9270-427: The soft, limber bodies of Vanessa Hudgens, Selena Gomez, Ashley Benson, and his wife, Rachel Korine.... I think that's sort of the point. When a pre-med student on spring break loses her top, drinks to the point of passing out, and grabs a willing lugnut by the ears for six hours of anonymous fun, is she setting the woman's movement back 40 years, or taking charge of her life like any man would do at that age?" Franco won

9373-489: The story's backbone, which takes place around the American spring break period, he traveled to Florida to write the screenplay. Production began in 2012, on an estimated budget of $ 5 million. It is one of Korine's first theatrical works to receive a wide release . Spring Breakers was released on March 22, 2013, in the United States by A24 and grossed $ 31 million worldwide, making it a resounding success considering

9476-439: The studio bosses left him alone because no one could figure out what he was doing. Left alone with his own crew, he constantly experimented to find out what he could do. He also tried to make the montage match the director's style, dull for a dull director, exciting for an exciting director. Of course, it was a most marvelous way to learn about films, because I made endless mistakes just experimenting with no supervision. The result

9579-410: The success of Shaft (1971) which led to studios rushing to follow it's popularity with films like Super Fly (1972), Black Caesar (1973), Coffy (1973) and The Black Godfather (1974) The films were often derivations of earlier films such as Cool Breeze (1972), a remake of The Asphalt Jungle , Hit Man (1972) a remake of Get Carter (1971), and Black Mama, White Mama (1973)

9682-407: The three parties to a crime: criminal, victims, and avengers and explores what one party's relation to the other two. This allows the crime film to encompass films as wide as Wall Street (1987); caper films like The Asphalt Jungle (1950); and prison films ranging from Brute Force (1947) to The Shawshank Redemption (1994). Crime films are not definable by their mise-en-scene such as

9785-453: The trailer was released there was speculation that the character Alien was based on Riff Raff. According to Franco, Alien is based on the underground rap artist Dangeruss, who has a cameo in the film. "Of course, Harmony and I looked at some of Riff Raff's videos as inspiration, but he was one of a number of people we looked at. I would say the biggest influence on the role was this local, Florida rapper named Dangeruss. He's fairly unknown, but he

9888-450: The war in narratives, with exceptions of film like The Green Berets (1968). The crime film Bonnie and Clyde (1967) revived the gangster film genre and captured the antiestablishment tone and set new standards for onscreen violence in film with its themes of demonizing American institution to attack the moral injustice of draft. This increase of violence was reflected in other crime films such as Point Blank (1967). Leitch found

9991-488: The younger generation's self-destructive obsession with highly stylized, disposable pop culture media and sensory ephemera. A sequel, Spring Breakers: The Second Coming , is in development. Jonas Åkerlund and Irvine Welsh initially intended to direct and write, respectively, until development had restarted, to which Korine would be open to directing and writing the sequel. College students Brit, Candy, and Cotty often spend their time partying while their friend Faith attends

10094-428: Was announced on May 6, 2014, to have been written by Irvine Welsh and directed by Jonas Åkerlund . Welsh's script focused on a set of Spring Breakers coming into conflict with Christian extremists, and Wild Bunch originally slated the film to debut at the upcoming Cannes Film Festival. Upon the announcement, Franco released a statement saying that the sequel was "not being done with Harmony Korine or my consent" and that

10197-532: Was delayed for over a year as its director Howard Hughes talked with the Motion Picture Producers and Distributors of America 's Production Code Office over the films violence and overtones of incest. A new wave of crime films that began in 1934 were made that had law enforcers as glamourous and as charismatic as the criminals. J. Edgar Hoover , director the Bureau of Investigation (renamed

10300-586: Was down there in the place, living the life, and he became the biggest model for me, and he's in the movie." After much back-and-forth between both camps about the issue, Riff Raff announced in July 2013 that he was suing the creators of Spring Breakers for $ 10 million for "sampling" his life without his permission or a proper producer credit. However, a September 2013 search by LA Weekly for court documents resulted in no findings. Spring Breakers has generated debate and controversy among critics, with some regarding

10403-610: Was that a great many of the montages were enormously effective. Siegel selected the montages he did for Yankee Doodle Dandy (1942), The Adventures of Mark Twain (1944), and Confessions of a Nazi Spy , as especially good ones. "I thought the montages were absolutely extraordinary in 'The Adventures of Mark Twain'—not a particularly good picture, by the way." The training montage is a standard explanatory montage. It originated in American cinema but has since spread to modern martial arts films from East Asia . Originally depicting

10506-400: Was under intense social reform with cities rapidly expanding and leading to social unrest and street crime rising and some people forming criminal gangs. In this early silent film period, criminals were more prominent on film screens than enforcers of the law. Among these early films from the period is D.W. Griffith 's The Musketeers of Pig Alley (1912) involving a young woman hounded by

10609-456: Was used to create symbolism . Later, the term "montage sequence", used primarily by British and American studios , became the common technique to suggest the passage of time. From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects ( fades/dissolves , split screens , double and triple exposures ), dance, and music. "Film historians differentiate two parallel schools of montage, that of

#52947