Metacritic reviews

Spring Breakers seems to be holding a funhouse mirror up to the face of youth-driven pop culture, leaving us uncertain whether to laugh, recoil in horror, or marvel at its strange beauty. All I knew is I couldn't wait to see it a second time.

Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.

Full credit to Korine, who sustains this act of creative vandalism right through to the finish. Spring Breakers unfolds as a fever dream of teenage kicks, a high-concept heist movie with mescal in the fuel tank.

Spring Breakers is either an inspired satire of the youth movie or the most irresponsible comedy mainstream Hollywood will never make. The bros in your crowd will call it rad — and radical it is.

Midnight movie programmers of the future will undoubtedly give it a long life years after it’s gone from first-run theaters.

One of the effects of Harmony Korine's feverish, hypnotic style is that the whole thing feels like a fantasy—or rather a nightmare perversion of the American dream.

It’s shallow, it’s boring, it’s poignant, it’s clever, it’s poorly acted, it’s intentionally poorly acted, it has no story, it has marvelous scenes, it is artful, it is hallucinatory, it is shoddily put together. All response is valid.

It has hypnotic visual style and a dense, driving soundscape. But it’s also too monotonous and thematically empty to be seriously provocative.

Just about every charge of social negligence leveled at Spring Breakers can be countered with an arch claim of intent, which makes it at once playful and wearying; enjoyment is contingent on how little you're willing to fight it.

"Trash Humpers" at least had the artistic courage of its own lunatic convictions, but Spring Breakers is all surface and sham; it’s trash about humpers.