Some things I liked some I did not.

Don't Believe the Hype

I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

This is sort of an indie coming-of-age story with snippets of horror.Don't be misled by the cover and the title of this flick (as I was), because this is in no way a full blown horror flick.Wendy comes back from the dead as some sort of a zombie. Without the craving for human brains that is, because once again: this is not a horror story.The rest of the story is about Wendy's friends being bored and feeling sorry for themselves. Without having any shocking epiphanies while doing so.The movie starts with over half an hour of storytelling and elaborating on the characters. Although the acting is more than decent, the pace of the story is excruciatingly slow and filled with unnecessary scenes (buying a chocolate milkshake, minutes of walking through fields etc.). Maybe it's me being impatient, but I turned it off. How long can one watch a couple of teenagers walking around explaining how sad they are? But then again, that's just my 2 cents....

A previous reviewer says it all, and says it well. This film reeks of indie cred, and has a few good performances (and a few awful ones) and a great soundtrack, but it's not funny, quirky, offbeat, frightening, thought-provoking, or anything else worthwhile. It would be a fairly impressive film school project. Why it won awards and so much notice I will never know, but I suspect it has something to do with yet another triumph of form over substance.Best high school oriented not-quite-dead girl double bill ever: Deadgirl - truly frightening and truly funny and an intense ending; Jennifer's Body - not really a zombie film but who cares? Brilliant. Best. Ever.Skip Making out with Violence.Spoiler Alert: There's really no making out in this film. Also no violence.

Appears to be a no budget film shot by an amateur film crew with no name actors, reading a script wrote by a ten year old, and directed by the family dog. The only redeeming quality of this film was that I got to tell my wife "I told you so." after telling her it was going to be a terrible waste of time go nowhere pile of garbage. I called it right on the nose. Terrible movie. Wouldn't watch it again if my face was on fire and watching this movie was the only thing in the world that would put out the flames. Scene after scene of useless drivel that was irrelevant to the story line...er...I'm not sure there even was a story line actually. There are so many questions left unanswered, the biggest is "Why did I watch this whole terrible movie?". It would have been far more entertaining to watch random clips of Spongebob Squarepants upside-down and backwards. Here is a hint. f you look up a movie on the IMDb site and any of the reviews contain the word "indie", flush your money down the toilet and stay home. You'll end up being a lot more entertained watching re-runs of Jersey Shore ya muff cabbage. After all, Snookie wants smoosh-smoosh. Right?

The Deagol Brothers' "Make-Out with Violence" is a stylish, smart, sweet little American indie that is sure to leave the viewer buzzing. This isn't your typical genre film, and the quirky mix of comedy and horror defies description. Films that terrorize with tongue firmly planted in cheek are among my favorites, but "Make-Out with Violence" doesn't even fit that profile.The film opens with the slightly creepy voice-over of little brother Beetle (scene-stealer Brett Miller), segues to flashbacks shot with a soft, dreamy, oversaturated look, then takes the viewer on a ride through the most perverse summer this group of slightly off-kilter misfits has ever had. The soundtrack is one of the film's strongest elements, mostly the work of composer Jordan Lehning (who also plays lead character Rody). The writing, direction, editing, and production of the film are all the handiwork of a small group of multitalented family members. Even the actors had a hand in the film's creative process. The two brothers at the center of the film (Eric Lehning and Cody DeVos) are also credited as writers, along with the Deagols. The film is shot and edited with such precision that there isn't a single frame of filler. Every word, every camera angle, every visual and sound effect is devoted to advancing the story. The filmmakers certainly made the best use of their low budget -- from all appearances there were no post-production special effects. Everything appears to have been done in-camera. No small feat for a genre film. This is quite an impressive calling card for these first-time feature filmmakers.