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a la Mod:
Gebr is said to have been commissioned to paint replicas of beloved works of art for many in Hollywood. "They’d put the originals in safe storage and hang Jerry’s versions on the wall," his son-in-law Kevin McMahon told Deadline. "Nobody could ever tell the difference."
In 1966, Gebr painted a full-scale replica of Michelangelo´s Sistine Chapel for the film Shoes of the Fisherman. That same year, he created paintings for the pilot episode of his friend Rod Serling's Night Gallery (for which the Deadline obituary states that Gebr is perhaps best known). Gebr also did the memorable Norman Rockwell-ish titles and story chapter works for George Roy Hill's The Sting. According to Gebr.art, he painted a western scene on a semi-truck trailer in Smokey And The Bandit, and completed portrait work for Alfred Hitchcock Presents, "and all works delivered within a film production window of one to two weeks." Gebr also worked on David Lynch's Dune, and Robert Wise's The Sound Of Music, among countless others.
Horrorant's John Hatzopoulos took a while to warm up to Rachel McAdam's performance in the film, and really liked Karoline Herfurth's. He notes that the exaggerated interpretations of the actors in the slower first parts of the film help to prepare the viewer for the more surreal twists and turns of the latter parts. Hatzopoulos goes on to praise the cinematography of José Luis Alcaine as "excellent", adding that "there are many beautiful shots, while the blue color that prevails in the second half is the right touch to put us in the surreal world of the film." Hatzopoulos expects that Passion will divide audiences.
Michael Wilmington, Movie City News
"It may be the apotheosis or culmination of all the Korines: a picture that starts off, as many have noted, like an arty Girls Gone Wild video, inflated to Hieronymus Boschian or Pieter Brughelian Beach Party proportions, and ends up doing a riff on the Al Pacino-Brian De Palma 1983 Scarface, mashed up into Charlie‘s Angels gone homicidal...
"A lot of Spring Breakers is shot and shaped like old-style soft-core porn show– even to the old cheapo porn trick of repeating some scenes and lines over and over. It’s blended with what plays like a teen-slanted ‘83 Scarface pastiche. But, as long as Franco is on screen, it’s a good movie, and there’s also something crazily compelling about the scenes of that huge outdoor dance-a-thon. The ending is beyond ridiculous, and not funny enough to save things. And the four femme stars could have used better parts and better lines, but what the hell. The movie‘s credibility vanishes after the restaurant robbery scene anyway, which is shot flashily, in a Gun Crazy-style single take. But as the man says, who needs credibility? Just pretend…"
David Edelstein, Vulture
"Spring Breakers switches gears midway through with the arrest of these bacchanalians (bikinis behind bars!) and the arrival of James Franco as a flamboyant meth dealer with silver teeth and red-tinted cornrows. He watches them go before a judge and, enraptured, bails them out. 'Sprang break … Sprang break … ' he intones, attempting to lull us with his sexy outlaw incantations. In his lavish manse, he shows off his arsenal, invokes Scarface, and says, 'This is the fuckin’ American dream, y’all.' Every one of Franco’s lines could be the prelude to a rap song too moronic for airplay. 'Sprang break ... Sprang break … ' I wanted to spring-break his silver teeth, but at least he’s more committed here than in his other movie on screens now, Oz the Great and Powerful — a Disney production."
Joshua Rothkopf, Time Out New York
"Already swollen with girl-on-girl flirtation, criminal fantasy and naive dreaminess, the movie explodes into Tampa Bay–set skankitude, where our leads are never out of bikinis, even when flung in jail for trashing a hotel room. They’re bailed out by Alien (James Franco, more alive than ever in the film’s only actual performance), a cornrowed, heavily armed wanksta rapper who nakedly desires them for his posse.
"It all plays out in a final flourish of DayGlo Scarface wish fulfillment, and you can’t really believe what you’re watching. Alien—and Korine—tell us it’s the American dream come true, and even if you resist going there with them, the have-your-cake-and-fling-it-too stupidity is breathtaking. It takes some kind of cracked artistry to put coeds in hot-pink ski masks and have them twirl around to a Britney Spears ballad toting machine guns. 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."
Peter Travers, Rolling Stone
"Too bad the movie itself is rarely as outrageous as he is. The promise of nudity and girl-on-girl action among Disney hotties Vanessa Hudgens (High School Musical), Selena Gomez (Wizards of Waverly Place) and Ashley Benson (Pretty Little Liars) is just a porny tease. Candy (Hudgens), Brit (Benson), Faith (Gomez) and Cotty (Rachel Korine, the director's wife) are merely college BFFs yearning for a spring break. Everyone but Faith (she's into Christian studies) agrees to rob a local chicken shack to finance a Tampa getaway. Here's your chance to hear the chirpy Hudgens say, 'Give me your motherfucking money or I'm going to shoot your fucking brains out.' And they're off.
"Alien laps them right up. At his crib, where bongs and blow are plentiful and Al Pacino's Scarface plays on a continuous loop, the coeds live the dream. Violence looms in the form of Archie (Gucci Mane), Alien's gangsta enemy. No sweat. When Alien isn't going down on a gun barrel in a homoerotic domination game, he sits at his poolside piano and croons Britney Spears ballads to the girls, who wear pink ski masks and dance around waving AK-47s."
Katie Calautti, Comic Book Resources
"Sure, it has the aesthetic of a Girls Gone Wild video mashed up with Scarface (and there’s certainly a portion of the film’s audience that will be all too happy to take it at that face value), but deep beyond its epic one-liners, brazen nudity, omnipresent drug use and stylized scenes of criminal activity, there’s a core that reveals an all-too-terrifying truth about the desensitization of youth and the moral quandaries it presents...
"That is to say, after watching Spring Breakers, you’ll have Britney Spears and Skrillex stuck in your head on a loop, you’ll quote (and re-quote, and re-quote) James Franco’s dialogue (his crooning repetition of 'spring breeeeeeak' will haunt your nightmares), you’ll never watch High School Musical the same way again, you’ll feel the crushing urge to view Scarface on repeat, you’ll realize you’re inadequately prepared (abdominally speaking) for swimsuit season, and you’ll suffer the after-effects of an onslaught of so much perverse and perverted imagery that you’ll want to disinfect yourself by taking a bath in (and swallowing shots of) tequila."
"The girls are mind-fucking each other: Christine uses every psychological means in the book to break Noomi, she traps her, she humiliates her in front of her co-workers, until Noomi finally snaps."
The LCI reporter says, "After his last film flopped, De Palma has turned his back on Hollywood to point his cameras on a Berlin as down-to-earth as it is dreamt up, using his personal grammar with a brilliance as seductive as it is cringe-inducing."
(Thanks to Patrick!)