Problema cada día

This is really a slow-paced and mostly boring film with mainly sexual-cannibalism as it`s focus.The actual storyline is quite intriguing and beautiful,pity then that this french director does`nt do it justice when it comes to convey it on screen.Well,you may ask;are`nt there any redeeming qualities about this film?As I said,this is a film that is MOSTLY boring,well when director Denise goes for the jugular,she truly does!!There are two flesh-consuming scenes here that,in my opinion,could be deemed to be very realistic,and I am especially referring to the burglary-scene.Seldom have I witnessed a more graphic presentation of love-bites,he,he.Nice set of teeth there!!Is this really worth a buy?Yes and no.If you,as I do,cherish mayhem and gloat over the macabre scenes portrayed here,wanting to show it to everybody(hoping they`ll vomit eventually,he!),then yes.On the other hand if you are looking for a remotely exciting film,then better avoid.Better still,rent it and copy the two scenes worth watching.Well,that truly was some expert advice,don`t you think?You`re welcome!

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.

I was tired and ready for bed but my curiosity got the better of me and I put the DVD in, expecting just to watch a few minutes. 1 & 1/2 hours later the film was over and I didn't want it to be.

Trouble Every Day is a haunting vision of desire gone haywire. Light on story and big on aesthetics, the film moves silently like a sensual and terrible dream. You've got to hand it to Claire Denis - it could have all gone horribly wrong were it not for her ability to set just the right poetic tone and mood.

This film is lovely to look at and the camera work is captivating. There is such suspense when the camera follows the back of the chambermaid's neck. The lack of dialog is so hypnotic that when characters began speaking it was an unwelcome jolt. This was especially true of Vincent Gallo (Shane) whose whiny voice is strangely at odds with his intense and unique looks. Beatrice Dalle is perfect as Core who is more animal than human. Her one speaking line says everything you need to know about her character. There was not a moment that I didn't fully believe Core's plight and pity and fear her.

When the movie begins Core has already completely succumbed to the unexplained sickness that Shane spends most of the film trying to suppress. Core is locked indoors all day in an attempt to prevent her from killing but she finds her way out and eventually the prey comes to her.

The two much talked about cannibalism scenes occur pretty late in the film and are worthy of the fuss -they are stunning.

There isn't enough plot development to figure out exactly what is happening to these people or why. There could have been a bit more explanation but the ambiguity makes everything a bit creepier.

Then I went to bed and you can only imagine my dreams.

Saw this last night and was blown away by it. For me it played as an intense psychological study of infidelity and addiction. The performances are taught and understated, as is the direction, with attention often focused on minute details.

I've seen negative reviews of this film from two different perspectives. One is the art-house maven who feels the scenes of sexual violence are gratuitous and in poor taste; Kevin Maher's comments in the Guardian are an example. Once these reviews have had an airing they tend to attract gorehounds, some of whom (going by online reviews) had been led to expect a genre movie and were disappointed. Hence you get a lot of complaints about slow pace, unresolved endings, lack of gore etc etc.

The movie does contain some quite disturbing scenes, but they serve to heighten the emotional drama that the film's really about rather than being an end in themselves. You've probably seen plenty of things more graphic than this without straying into the outer reaches of the horror genre. The sexualisation of the violence does make it more potentially upsetting, as does the psychological context Denis so delicately builds up.

As other reviewers have said, this isn't supposed to be a plot-driven action movie, but the storytelling is impeccable. The ambiguous ending is absolutely logical, and people who say it "doesn't end properly" astonish me. The ending makes perfect sense in light of everything that's gone before.

The back-story about the pharmaceutical company etc is pretty cheesy, but it helps to have some kind of nod towards an explanation for what's happened to the lead characters, and that's really all it is.

I think this one is going to stay with me a long time and I'd definitely re-watch it.

Although I liked Claire Denis' "Trouble Every Day" even more on this second viewing, I can fully understand why many hate the film. It is not a film one enjoys (except in a manner appreciative of it as art), and offers a narrative with little closure and sparse plot. It is also moody, brilliantly photographed by Agnes Godard, excellently-acted, and genuinely unsettling, and not just for the much-talked about gore (which takes up around five or so minutes of the film over two scenes).

The film's thin plot is based around dark scientific secrets and is more than a little reminiscent of one of David Cronenberg's sexually-charged horror films, but Denis' approach is completely different. The film lacks dialogue for most of its scenes, but the visuals tell the story far better than dialogue could anyway. We don't find out very much about these experiments, but we don't need to; the film is about the characters, especially Shane (played brilliantly by Vincent Gallo), and the film is ultimately more about Shane's struggle with his condition and his love for his wife (girlfriend? Not that it really matters...) than about the general plot or the gore.

"Trouble Every Day" (Zappa reference!) is certainly graphic, but only when it needs to be. There are two scenes of gore, both far from the worst anybody well-acquainted with horror films has seen in terms of the actual on-screen violence, but it is testament to Denis' great skill as director and the actors' great conviction that they feel so hard to watch, in particular the latter scene.

There have been films with more or less similar subject matter made before, but most of them are harmed by a cynical, harsh approach to their subjects. Denis' approach to this film is far more human, even towards what some might not hesitate to call monsters. The film is quiet, ponderous, and sensitive (so is the brilliant score by Tindersticks). The brilliant photography and Denis' wonderful mise-en-scène capture this warm feel very well, especially during the sex scene between Shane and his wife .

The critics who almost unanimously lambasted the film in 2001 raise some good points. Perhaps "Trouble Every Day" is under-written, although I enjoyed the fact that the film let me piece things together rather than tell me precisely what was going on. Perhaps the film has less depth than it thinks it does. But the real question is whether or not that keeps "Trouble Every Day" from being a triumph of atmosphere and style, and a haunting examination of gender roles and human sexuality? As far as I'm concerned, it certainly does not.