Make Out With Violence (2009)
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Critic Reviews for Make Out With Violence
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.
[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.
Occasionally inspired but just as often frustrating.
Audience Reviews for Make Out With Violence
The synopsis of this quirky flick is right on. If I had to, I'd call it a coming-of-age film centering around twin brothers who are trying to figure out their direction. One of their friends, and the object of one's infatuation, disappears only to turn up tied between a couple f trees. She's a zombie. She's not particularly dangerous, but she's not particularly alive, either. The film plays out over the course of a summer as one twin tries to win over the dead girl's best friend and the other hides the zombie in the bathroom of an absent friend's house. "Make-Out With Violence" takes a little while to get going, but it's effective and poignant once it does. While there are a couple of tense, mildly scary scenes, it's not about the gore and there's not much violence, either. The violence seems to be more about that done to oneself through dishonesty to oneself and others. The zombie is a device, something to do with lingering too long when it's time to move on. Considering it's the directors' first outing, this is a particularly interesting and oddball flick. Think "Stand By Me" meets "Dead Girl." The pacing drags at points, but very worthwhile in the end.
Make-Out with Violence is proud of its dual genre nature, yet suffers from an identity crisis that it ultimately fails to transcend.
One of the best truly independent films ever. It's like if John Hughes directed Deadgirl. It's perfect.
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