[Movies] Film Distributor’s Association Showcase / Embargos

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If there’s one thing I can take from the Film Distributors’ Association showcase I attended this week, it is that I am a man of simple pleasures. Even before the suits from Twentieth Century Fox insisted on confiscating our phones for fear of snatches of coming-of-age comedy The Way, Way Back being plastered across social networking sites (Oh, how I longed to wield an innocent Nokia 3210 in their faces…), I was in my element. There were contracts, free coffee and a lanyard with my name on it. It was about as close to Heaven as I ever plan to get.

Now, perhaps my favourite thing about writing, as opposed to merely ‘talking’, is that you cannot see my face. This isn’t to say I consider myself ugly (after all, some people say I remind them of a young Glenn Close), more to point out that I am a terrible liar. I am also legally obligated to wait until each film’s respective embargo expires before I can publish my thoughts, and if I was to be talking to you in person, my face would simply give everything away. However, I can reveal that the line-up (picture after the jump) certainly gave me a lot to think about, and I must thank IdeasTap profusely for granting me this wonderful opportunity.

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[Movies] Spring Breakers (review)

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Director: Harmony Korine // Starring: Vanessa Hudgens, Selena Gomez, Ashley Benson, Rachel Korine, James Franco.

Review: The motive behind one’s participation in a film like Spring Breakers is admirably clear. Those who brave Harmony Korine’s neon-soaked oddity are invited to watch in awe as Selena Gomez and Vanessa Hudgens dismantle their squeaky-clean public personas, a tried-and-tested career move that heralds a rebirth-of-sorts for the Disney starlets, reinforcing their relevancy and signalling a more mature approach to their image and output. It is no coincidence that Hudgens’ raucous new single “$$$ex” dropped in the wake of the film’s US premiere, or that Korine has cited the rise and fall of pop icon Britney Spears as a major influence on the films emotional trajectory in several promotional interviews. It is these assured correlations between the ambitions of both cast and director that elevates Spring Breakers from the depths of depraved exploitation that so many critics have been so eager to bury it in. For better or for worse, this is a film that wears it opportunism on its sleeve.

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