Lee Curtis’s review published on Letterboxd:
Harmony Korine bravely disguises a dark, tragic and exhilarating exploration of modern teen culture as a generic party film to entice a mass audience. From its one-dimensional characters and sexualisation of former Disney princesses to Instagram aesthetic and hit-filled pop soundtrack, Spring Breakers is built entirely to engage a teen demographic, but subverts the conventions of the popular subgenre and challenges their expectations.
By refusing to offer the cookie cutter genre piece a sly marketing campaign promoted it's little wonder Spring Breakers has received such vehement criticism, but the cause of the vindication from teen audiences most likely stems from the disturbing self-reflection Korine encourages in his profound deconstruction of youth culture.
Though Korine's art house style creates some of the film's most memorable moments, particularly the restaurant holdup that is beautifully captured from the juxtaposing silence of a car slowly passing by, it also stands in the way of Spring Breakers being a really good film. This ambitious study of the MTV generation is so drenched in satire and ambiguity that it leaves you ultimately uncertain of how to respond. Maybe that's Korine's point.