Hi everyone, Tim here; you may know me from my film review blog Antagony & Ecstasy, from my dogged commitment to the Film Experience’s own Hit Me with Your Best Shot or you may not have the damnedest idea who I am and don’t care. But I’m going to be with you on Thursdays for at least a little while now, with a weekly column, where we’ll talk about… well, that’s the trick, isn’t it? Movie stuff. Whatever seems to be interesting about the new movies poking their heads around that particular week: something particular about the way a movie was put together, or conceived, or, in this case, sold.

The dirty secret of the film industry is that it exists to be profitable. It actually does good to be reminded of that, because even in the case of the costliest, sprawlingest tentpole movies, we tend to act like that the filmmakers are our buddies, or some such; but it’s true of even the most independent-minded, anti-commercial cinema that it’s actually supposed to make some sort of money. Sad as it is to think, even microbudget indies that cost fractions of pennies by movie budget standards are still wildly expensive by actual human being standards, and if they constantly hemorrhage money, then it would be impossible to keep making them.

All of which is to say: I truly don’t begrudge Annapurna Pictures the right to turn a profit on Spring Breakers, more...