Spring Breakers, review - Telegraph You can make the plot sound like an addictively nihilistic youth-culture joy ride: it has girls, guns, orgiastic beach parties, and everything veering towards oblivion. But it's also a noodly chore, which keeps looping back on itself to make the same points over and over. The lead quartet, played by Disney princess Vanessa Hudgens, Justin Bieber's ex-girlfriend Selena Gomez, blonde TV star Ashley Benson and Korine's wife, Rachel, egg each other on to rampant criminality - they fund their Easter holiday by robbing a fast-food dive at gunpoint. Then the nominal fun starts - which means they disappear into a trippy neon blaze of hedonistic wish-fulfilment. Their lack of distinction as personalities or moral beings is entirely the point, but it's still an annoying one. Scene by scene, the movie looks pretty glorious: an odyssey of lascivious candy colours, headed for its zonked, couldn't-care-less apocalypse. The soundtrack is one of the year's most enticing, and James Franco's punchy caricature of a white rapper called Alien, all cornrows, silver mouth furniture and troubling designs on his new groupies, definitely kicks it up: he's two-dimensional, but they're strong dimensions. The trouble is all in the film's wildly anxious structure, which feels largely dictated in the cutting-room by Korine going out of his way not to be accused of a message. His attachment to free-floating ironic voiceover - we hear it's the time of everyone's life, while they squat in the gutter weeing and such - is more or less Terrence Malick with a smirk. The racial politics don't bear close scrutiny either, but then nothing does. Korine might say we're simply meant to surrender, which is a valid aim, but it's hard to keep faith when he practically wipes his hands of his own movie.