“I’d already seen Spring Breakers once, at an early screening with a crowd very receptive to the latest offering from Harmony Korine. Since that first viewing I was eager to get back to a theatre to see it again. The film was stuck in my head for days. The images. The edits. The music. The vibe of the film sat in my soul and the only way to satiate my lust for its satirically depraved spirit was to watch it again.

And so I gathered myself, sister in tow, on opening night for the film here in Canada. We bought tickets to the 10:40pm screening and entered a completely packed auditorium, filled to the brim with 17-25 year-olds. I could tell immediately that this would be a fascinating audience experience; a case study of sorts on the immediate effects of Harmony Korine trolling a generation of filmgoers looking for a good time party movie.”

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“There was once a time when the physical barriers to world-creation on screen dictated a level of narrative justification for an epic scope. Were we to pinpoint the new age of “epic-ification,” we might place it somewhere in the post-Lord of the Rings/Star Wars prequels area. It was then, after audience expectations for visual effects were permanently altered, that Hollywood started to lose its grip on the relationship between narrative necessity and epic scope. Now that anything could be put on the screen, everything should, and in as massive a scale as possible.”

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“Everyone hates Tom Hooper. They hate his new movie, Les Misérables. They hate his stupid face. But most of all, people hate the way Hooper frames (or doesn’t frame) his shots. You see, Mr. Hooper knows what an auteur is and he wants to be recognized as one. The best way to do that, of course, is the create a consistent visual technique. Wes Anderson has his meticulous production design, colours and centred framing. J.J. Abrams has his anamorphic lens flares. Tom Hooper has his own style, too.”

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