Make Out With Violence (2009)
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"MAKE-OUT with VIOLENCE," the first feature-length film from the Deagol Brothers, is a genre-bending tale of a boy trying to fulfill his unrequited love for a girl who has risen from the dead. Set against the backdrop of a summer of cicadas and melty milkshakes, the film blends elements of up-beat teenager melodrama with the strange gravity of classic coming of age stories. It tells the story of twin brothers Patrick and Carol Darling, newly graduated from high school and struggling to come to terms with the mysterious disappearance of their friend, the bright and beautiful Wendy Hearst. When a drive through the countryside surrounding their posh suburban community leads to the discovery of Wendy's mysteriously animated corpse, the boys secretly transport the zombie Wendy to an empty house in hopes of somehow bringing her back to life. As the sweltering summer pushes on, they must maintain the appearance of normalcy for their friends and family as they search for ways to revive the Wendy they once knew, or, failing that, to satisfy their own quests for love amonst the living and the dead. At once dark and warm, humorous and tragic, "MAKE-OUT with VIOLENCE" offers a fresh perspective on the supernatural and a sincere and heartfelt look at the sorrow of loss and the pain of growing up. --© Official Site … More
as Patrick Darling
as Carol Darling
as Wendy Hearst
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Critic Reviews for Make Out With Violence
[W]hile the film tackles the subject of personal morality and ethics, it works more as a vehicle for twinkling nostalgia memories of youth.
A dreadfully pretentious genre-bender about the pain of unrequited love.
Builds a real air of mystery around the captive girl, what she is, what she is or isn't capable of doing, and what we're invited to feel about her or her caretaker-captors... Made with real filmmaking flair.
Make-Out with Violence is a horror movie given the generic low-budget art-movie treatment.
Outrageous, disturbing and wickedly funny. It's a stylish, bizarre and refreshingly subversive amalgamation of horror, romance and comedy.
Filled with clear, bright images and moments of skewed genius, this delicate debut effortlessly evokes those languid summer doldrums, when even a rotting girlfriend is better than no girlfriend at all.
The film invests in spacey horror tropes one moment, plunges into absurdist adolescent angst the next and begs questions every step of the way, but just about holds together.
Inventive without being twee, quirky without being overly Wes Anderson, and suffused with a late-adolescent sense of longing as palpably felt as it is understated.
This is a far more complex and thoughtful examination of the transition to adulthood and how we deal with death rather than just another zombie flick.
If Hal Hartley used to be detachment for people who had lived too much; Make-Out is just lazy ennui, a movie with the momentum of sleep and the conscience of a bored sociopath who likes Gossip Girl.
The entire film possesses a certain longing, the sort that manifests itself and begins to grow at the moment of High School graduation, when some of the most formative circumstances of youth are remembered only as ephemeral moments.
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