Mjeteconer Just perfect...

ChicRawIdol A brilliant film that helped define a genre

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Anthony Pittore III (Shattered_Wake) On a honeymoon in Paris with his beautiful wife, an American man heads to the home of an exiled medical professional, Léo (Alex Descas), who specializes in the field that Shane (Vincent Gallo) has been involved with: The Human Libido. At Léo's home, Shane meets Léo's wife, Coré (Béatrice Dalle of 'À l'intérieur'), who is kept locked away from the world due to her carnivorous carnal tendencies. The secrets and events that follow will be the most shocking and horrifying of the young couple's lives.Hearing that this film borders on unlikable due to the subject matter, I had to pounce on the opportunity to view it. Expecting a truly shocking and disturbing French horror. . . I was not disappointed. The depth of exploration of sexuality and cannibalism (and the sexuality OF cannibalism) goes unmatched by any single film I've ever seen. While it's not a film that is particularly enjoyable, as it does reach some limits that are unusual for modern cinema of this style, it's still beautifully made and extremely fascinating. The entire cast delivers at least above-adequate performances, some better than others (include Béatrice Dalle in the 'better' category as usual). Like another recent film of Dalle's, 'Trouble Every Day'f features an extremely cringeworthy scene that sent chills up and down my spine. It's not nearly as graphic in a sense of quantity as I'd expected, but the quality of the brutality is what makes the film so effective.Final Verdict: 8/10.-AP3-

groggo Claire Denis's movies have usually been interesting to me. Then I saw this one. All I can say is: Wow. Simply put, Trouble Every Day might have worked very well as a satire. If Denis was aiming in that direction, she failed spectacularly: this flick, from beginning to end, just takes itself far too seriously. There isn't a trace of a desperately needed wink or a nudge in sight.'Trouble' died somewhere between the idea and the first draft. It doesn't have much of a plot to begin with, but Denis isn't much 'driven' by plots ('Friday Night' is a good example). She's one of them there, you know, artistes. This indifference to plot is okay by me, but don't give us incredulous nonsense in its place while you obey other conventional narrative rules.There are so many silly things happening here that I don't know how to list them -- I mean, 200-lb. men getting eaten alive by a waifish girl, screaming bloody murder in terrible pain, but apparently not resisting. You know, they can't do anything about it; they're helpless. I repeat: Wow. The biggest whopper of them all begins and ends with the Vincent Gallo character marrying the Tricia Vessey character. Luckily for us all, the marriage is unconsummated; if not, there wouldn't be much point in a script -- or a film.This whole feeble conceit strains what little credulity this movie has -- a seemingly sweet, intelligent, sensitive and sensible woman falls in love and marries an extremely creepy guy (Gallo) who just happens to be a conflicted cannibal. It's just something she kind of overlooked while romancing this decidedly UNromanceable weirdo. Perhaps she neglected to notice his gory fingernails, his stale bloody breath. I mean, there are plot holes, and then there are PLOT HOLES.This most peculiar of marriages REMAINS unconsummated (jeez, another Wow) until they go to Paris on a honeymoon and romp with gargoyles on top of Notre Dame de Paris (that's Victor Hugo you hear groaning in the background). The bloodthirsty Gallo realizes he cannot have coital joy with the beautiful Vessey because, well, you know, then he'd have to eat her, as he does earlier with a rather luckless chambermaid in a disgusting scene bathed in gore. So, in deference to Vessey, he savagely masturbates instead. This is a very considerate cannibal.Once again, if Denis had just given us a glimmer of a satirical edge, this film might have worked. But she plays it straight from beginning to end, with no room anywhere for irony.The theme of this movie, if you strip it bare, started with Nosfaratu 85 years ago, and it's been repeated cinematically about 40,000 times, give or take, since then. It's the vampire-werewolf thing gussied up with sex and some stunning cinematography. Denis is treading very familiar metaphorical ground here.We symbolically 'consume' each other, we viciously hurt and maim each other, we unconsciously yearn to 'enter' and merge with the ones we love, to be 'parts' of them, all in our quest for a puzzling metaphysical grace, a 'sustenance' if you will. Five centuries ago, the great English poet John Donne used to write about such things (without the explicit flesh-eating stuff). There's a pretty pathetic (and entirely unsatisfying) ending to this film as well. BIG SPOILER COMING.The hopelessly oblivious and spectacularly clueless Vessey (can such people REALLY exist?) notices blood dripping from a shower curtain, and in the final frames, we know the overheated Gallo is primed and finally ready to do the nasty with her. The camera catches Vessey's eyes in closeup, and she's slowly awakening. 'Jeez,' those eyes are saying, 'I think maybe I made a mistake. My creepy wild-eyed hubby is about eight seconds away from ripping my vagina apart with his jaws, entering my body and disemboweling me. Gonna eat my intestines and stuff. There's gonna be a lot of blood and I'm gonna be dead. Oh my. Can you in the audience see how expressive my eyes are?' And so the movie ends. I say again: Wow. There's no disbelief here to suspend.

entlerjl I finally got to view this movie when I got if from Netflix. Although the gore is great, it is scarce to say the least. If you like foreign films, this one is for you. Great work with color schemes and music, but the camera shots are like film school quality. This movie could have and should have been a lot better. The plot had a lot of holes and the viewer needed more information about the entire aspect of the plot. The Who, What, Why, Where, and How's were not addressed as well as they should have been for an effective dramatic experience. Some of the gore was essentially not needed in its entirety. It was how ever very disturbing and effective.The acting was sub par at least. Some of the cast seemed to be reading off of cue cards. For a movie that was supposed to be very dramatic, the actors did not have any chemistry between them as an ensemble. I have no idea why Vincent Gallo was cast. He has got to be one of the most unattractive male leads in the industry. Anyhow. This movie was really bad all around. I would recommend that it be avoided at all costs. This is not one of the films you should see before you die. This is not a film for gore hounds either as it has minimal gore. The gross out alone is not reason enough for a viewing of this movie. I'm sure if you want to know what is so gross about this movie, just ask someone who has seen it and save the rental fee. Stay away from Trouble Every Day.

Michael Kerjman Voodoo-practitioner – Afro-French male doctor's sex-toy creature allowed leaving her locked room by a hypnotised curious intruder being consumed during copulating, is overpowered by a strong American happened to drop in into a doctor's house at the timing, who had since then fallen into her footsteps of a thirst for blood and flash during orgasm.A perverted love of "Dracula" mixed with an unstoppable quest for sadist sex of "Frisk", framed with Parisian charm makes this terrific film realistic to a degree of a potential usage by anti-AIDS and pro-obscenity campaigners.Highly recommended.