Film

Film 2009: Make-Out With Violence

Director: The Deagol Brothers; Cast: Eric Lehning, Cody DeVos, Leah High, Brett Miller, Shellie Marie Shartzer, Tia Shearer, Jordan Lehning, Josh Duensing; Runtime: 105 minutes

Film 2009: Make-Out With Violence

Make-Out is one of those movies where you peg the pitch within the first five minutes. This is Garden State with a zombie in it (complete with shambolic indie rock conspicuously framing far too many scenes). That seems to be a common denominator amongst films where the elements of the story are impressionistic or easily orphaned; they seem like premises before they were stories. Make-Out feels like it has styles and mimicked depth, but in the end it's really for nothing, since the climax is just another scene, the last merciful domino to fall into place. Where the story lures you in (a mysterious death, the concentric aftershocks of grief), it mostly leaves them behind for a case study in circles of friends and family who have sexual interests in one another. It might gall the movie makers to hear this, but I kept thinking of Friends, a show I never watched, because it seemed to be about people I didn't care about who mix-and-matched their fleeting emotional attachments to entertain themselves. This is really a film about perverse objects of obsessive love, a subject much better mined by movies like Love Object and Elvis and Annabelle. Make-Out lacks emotional excavation. While one brother is chasing after someone who is of course in love with someone who will never love her back, the other brother proms up the zombie girl and feeds her birthday cake in a scene that embarrassingly steals from both Hannibal and Happy Birthday To Me. It's obvious he's projected a fairly impervious fantasy about the poor zombie, who he seems to know little about, but loves freshening up her lipstick and feeding her fresh rat heads. As far as zombie's go, Wendy is comparatively inanimate. Even a couple of well-fed dogs barely rouse her to a hobble and she can't even eat her own birthday cake. If there were any emotional investment to be had in this movie, this might be an unsettling, painful, and poignant place to start. How do we let go? In fact, I admire the premise that a huge number of people would simply try to normalize the resurrection of a loved one, even a flesh eating one, because the power of grief can decimate the rational. But the normalization goes too far, to a point of blasé that makes you instinctively ask why no one who finds a friend thought to be dead, tied up and convulsing uncontrollably, would call the hospital? Of course even the most ridiculous premise can be sold with a character. An audience can forgive a generously leaking plot, if they can find someone to invest in, root for, someone even to hate. Make-Out is completely rotten with Xanax-barred emotion, where every character sounds like they accessing memorized narcissistic platitudes about their feelings, but they don't really seem to have feelings. There's a ridiculous sub-plot on the secrets of making a grieving girl fall in love with and have sex with you that's just one more out-of-place element jockeying for an overall tone. That's why it feels so much like a sales pitch. It's funny, it's sad, it's got cute indie people talking past each other, a beautiful corpse and a soundtrack for people who use depression the way children use binkies and blankets. Did I mention the little boy, molded after a Stand By Me character, who voice-overs the entire movie with paltry narrative gloss on the snail trailing plot shards? The viewer doesn't need the additional distancing of the omniscient narrator who begins as a crucial character and then, like so much of the movie, gets thrown away to follow some other half-formed mood or anemic repartee. Does anyone care how this girl died? It's slightly suggested that she died because one of the characters may or may not have a dark, sadistic sexual interest in her, but why doesn't the director care? Why is it more important to have a scene where the prelude to a kiss is, "Let's get awesome." This could have easily been enjoyably farcical and ultimately creepy in the way that people don't really how truly dehumanizing idolizing love can be. This film needed something other than a series of marketing takes. The writing never salvages the restless remains of the story. 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.

Music

Books

Film

Recent
Books

Literary Scholar Andrew H. Miller On Solitude As a Common Bond

Andrew H. Miller's On Not Being Someone Else considers how contemplating other possibilities for one's life is a way of creating meaning in the life one leads.

Music

Fransancisco's "This Woman's Work" Cover Is Inspired By Heartache (premiere)

Indie-folk brothers Fransancisco dedicate their take on Kate Bush's "This Woman's Work" to all mothers who have lost a child.

Film

Rodd Rathjen Discusses 'Buoyancy', His Film About Modern Slavery

Rodd Rathjen's directorial feature debut, Buoyancy, seeks to give a voice to the voiceless men and boys who are victims of slavery in Southeast Asia.

Music

Hear the New, Classic Pop of the Parson Red Heads' "Turn Around" (premiere)

The Parson Red Heads' "Turn Around" is a pop tune, but pop as heard through ears more attuned to AM radio's glory days rather than streaming playlists and studio trickery.

Music

Blitzen Trapper on the Afterlife, Schizophrenia, Civil Unrest and Our Place in the Cosmos

Influenced by the Tibetan Book of the Dead, Blitzen Trapper's new album Holy Smokes, Future Jokes plumbs the comedic horror of the human condition.

Love in the Time of Coronavirus

Fire in the Time of Coronavirus

If we venture out our front door we might inhale both a deadly virus and pinpoint flakes of ash. If we turn back in fear we may no longer have a door behind us.

Music

Sufjan Stevens' 'The Ascension' Is Mostly Captivating

Even though Sufjan Stevens' The Ascension is sometimes too formulaic or trivial to linger, it's still a very good, enjoyable effort.

Jordan Blum
Music

Chris Smither's "What I Do" Is an Honest Response to Old Questions (premiere + interview)

How does Chris Smither play guitar that way? What impact does New Orleans have on his music? He might not be able to answer those questions directly but he can sure write a song about it.

Music

Sally Anne Morgan Invites Us Into a Metaphorical Safe Space on 'Thread'

With Thread, Sally Anne Morgan shows that traditional folk music is not to be smothered in revivalist praise. It's simply there as a seed with which to plant new gardens.

Music

Godcaster Make the Psych/Funk/Hard Rock Debut of the Year

Godcaster's Long Haired Locusts is a swirling, sloppy mess of guitars, drums, flutes, synths, and apparently whatever else the band had on hand in their Philly basement. It's a highly entertaining and listenable album.

Film

What 'O Brother, Where Art Thou?' Gets Right (and Wrong) About America

Telling the tale of the cyclops through the lens of high and low culture, in O'Brother, Where Art Thou? the Coens hammer home a fatalistic criticism about the ways that commerce, violence, and cosmetic Christianity prevail in American society .

Film

The Dance of Male Forms in Denis' 'Beau travail'

Claire Denis' masterwork of cinematic poetry, Beau travail, is a cinematic ballet that tracks through tone and style the sublimation of violent masculine complexes into the silent convulsions of male angst.

Music

The Cradle's 'Laughing in My Sleep' Is an Off-kilter Reflection of Musical Curiosity

The Cradle's Paco Cathcart has curated a thoughtfully multifarious album. Laughing in My Sleep is an impressive collection of 21 tracks, each unapologetic in their rejection of expectations.

Music

Tobin Sprout Goes Americana on 'Empty Horses'

During the heyday of Guided By Voices, Tobin Sprout wasn't afraid to be absurd amongst all that fuzz. Sprout's new album, Empty Horses, is not the Tobin Sprout we know.

Film

'All In: The Fight for Democracy' Spotlights America's Current Voting Restrictions as Jim Crow 2.0

Featuring an ebullient and combative Stacey Abrams, All In: The Fight for Democracy shows just how determined anti-democratic forces are to ensure that certain groups don't get access to the voting booth.

Music

'Transgender Street Legend Vol. 2' Finds Left at London "At My Peak and Still Rising"

"[Pandemic lockdown] has been a detriment to many people's mental health," notes Nat Puff (aka Left at London) around her incendiary, politically-charged new album, "but goddamn it if I haven't been making some bops here and there!"

Music

Daniel Romano's 'How Ill Thy World Is Ordered' Is His Ninth LP of 2020 and It's Glorious

No, this is isn't a typo. Daniel Romano's How Ill Thy World Is Ordered is his ninth full-length release of 2020, and it's a genre-busting thrill ride.

Music

The Masonic Travelers Offer Stirring Rendition of "Rock My Soul" (premiere)

The Last Shall Be First: the JCR Records Story, Volume 1 captures the sacred soul of Memphis in the 1970s and features a wide range of largely forgotten artists waiting to be rediscovered. Hear the Masonic Travelers "Rock My Soul".


Reviews
Collapse Expand Reviews



Features
Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.