Linbeymusol Wonderful character development!

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Snaggletooth . Another word (to me) for pretentious could be boring, or maybe dull, because when a film tries too hard to have hidden depths sometimes it just plunges deep into the abyss. This is where Trouble Every Day dwells.I heard about the movie while reading a horror encyclopedia somewhere so I thought I'd track it down. I'm no newbie when it comes to challenging horror cinema and I actively seek out things which my local multiplex wouldn't show. I also don't mind if a film moves relatively slowly, but it takes a few morsels of plot along the way to smoulder my interest, Trouble Every Day fails to keep that interest and it's almost as if the director thought he could pad out 90% of the film with any dreary old shots because we wanted to see the reported shocking ending. I'm afraid not though.When it finally gets to the good stuff, its a damp squib. So much more could have been done with the entire premise, much like Let The Right One In. The (little) gore is not really that shocking and at times you don't even know what's going on. All in all, it's just not that good of a film and it's no great wonder it doesn't get much recognition. I would have given it a 2 but I liked the theme music so a generous 3 then.

jzappa From what I've read of him, I do not like Vincent Gallo as a person, and he often physically repulses me. In Trouble Every Day, he does physically repulse me more than ever, yet I do not dislike him in his role. What I must say impresses me about Gallo is his ability as an actor, including performances under his own writing and direction, to play roles devoid of any of the ego that he defensively projects what I've read of his off-screen life and that are crippled by hopeless insecurity and apprehension, which he showcases without a hint of inhibition or unintended uneasiness. That is why I believe he continues to find work in movies in spite of the unbelievable amount of projects from which he was fired or walked away, the amount of people he claims to hate, and the mind-blowingly infuriated critical and audience reaction to his sophomore effort at the helm, The Brown Bunny. All-embracing filmmakers see him as one of the very few actors who has no problem baring himself for a performance as a truly pathetic character. In this film, he is honeymooning with his wife in Paris superficially in an effort to nurture their new life together, however the core reason is so that he can visit a medical clinic where studies of the human libido are undertaken. He hopes to rid himself of the bloodthirsty urges that have always plagued him.The real shock found in this film is my surprise introduction to Beatrice Dalle, who I have never before seen in a movie and near whom I hope to be wearing football gear inside the Batmobile if I ever see her in person. As a doctor's wife who is psychologically in ruins due to a mysterious overextention of her libido and is too dangerous for her husband to let her free from the bedroom during the day, she reaches as deeply into the most basic appetitive animal instincts as she is capable and plainly ensues as a nightmarish monster of berserk chaos. It was clever of writer/director Claire Denis to cast two notoriously wild atypical people of extremity in their roles.Denis's scenes of gore, which due to her focus on the morose feelings of the characters, mainly Gallo, his wife, and Dalle are intermittent and often difficult to anticipate, are extremely disturbing. During a scene where Dalle attacks a person's flesh as they lay in shock, barely able to scream, the sounds made by both Dalle and her victim are heard just barely over the glum, cheerlessly jazzy score. In the other scenes of violence, Denis's wise discerning between the appropriate placement or absence of music asserts a very moving outcome.Though I was expecting a grittier cinematographic delivery, the film is stirring, well made, and metaphorically interpretable.

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.

i1011i True the movie was rather slow but it is European and you kind of have to expect that. A movie doesn't need to be about speed anyway, if you just relax and really let the imagery throw, its quite amazing.There was beautiful cinematography if noticed. The blood dripping from the blades of grass in the field Core was using as hunting grounds. The harsh lighting and color use in some of the lab scenes. the fragile jigsaw of brain matter being sliced and dissected in petri dishes. The wall and Core after she has eaten the boy who brakes in. Both were so intense you couldn't help appreciate the experience. The pace of the film was crucial when considering the character development and the slowly dawning knowledge that Core wasn't alone in her insanity, that Shane was falling further into madness too. Both the victims of their own prior experiments. The realization the audience must go throw, that each character is not going to avoid a grotesque end physically or emotionally. That everyone they touch is doomed to walk on a knife edge of danger as Core has and Shane is growing more animalistic and less human by the day. A stunning piece.