Lightdeossk Captivating movie !

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Aubrey Hackett While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Maz Murdoch (asda-man) Trouble Every Day had acquired my interest for a few years. I started getting into French horror and fell head over heels for masterpieces' such as: Inside, Martyrs and Calvaire. This suddenly cropped up whilst I was browsing for something new within the French extremity. It looked promising. Not only did it star Beatrice Dalle (who is insanely creepy as La Femme in claustrophobic Inside) but it had an intriguing plot about some honeymooners and a cannibal. It also had a striking poster. However, what put me off were the largely negative reviews, claiming that the film is boring, pretentious artsy, fartsy rubbish. So I held off for years until now. I thought, "Sod it, it looks great and there are plenty of rave reviews from people who like weird films like me." And I'm glad that I did! It's easy to see why some people hate Trouble Every Day. It's very slow and the characters don't act like you or I (i.e. Normal. Unless you're not normal, because come to think of it neither am I!). Trouble Every Day is a film in which you need to get into the right frame of mind before or as you watch it. It's not a film which thrives of realism. It's "art" and is aware that it's a film, thus it thrives on its unsettling atmosphere and if you let that engulf you then you're likely to become strangely engrossed in its weird characters and mysterious plot.There are some moments of brilliance. I loved the way Claire used extreme close-ups to create a claustrophobic and off-kilter atmosphere. I was also impressed at the symbolism of some shots. For example, a lot of the shots were taken from behind a window or fence, possibly to suggest how the characters feel metaphorically (and in some cases, literally) trapped. I also liked how raw and realistic the film felt. There's a great moment where the camera pans slowly over a man's naked body, yet it's shot so closely that it makes the man's body look grotesque. It's completely anti-glam! In the end, Trouble Every Day isn't for everyone. Some may call it slow and pretentious and I wouldn't necessarily disagree with that. However, for me it hit all the right buttons. It kept me engaged and the unusual directing was strangely compelling. I also liked the way it used visuals more than words to tell the story. If you demand a lot of action in your films, then don't bother. But if you'd like something a little unusual, intriguing and ambiguous, then Trouble Every Day isn't a bad place to start. It's also not as repulsively gory as everyone says it is.

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.

tedg Beatrice Dalle is a hypnotizing presence to me. Clair Denis has an ability to cover and penetrate the skin. She is a Jarmusch who can put his abstract angst in estrogenal terms, with as much cinematic competence. There is a tendency to compare her to Catherine Breillat. That is a mistake we guys make because both see as women. But Brellait is all about damage, the inevitability of damage. Denis on the other hand is about hope as an urge among desperate urges. They couldn't be more different.These two women, Dalle and Denis have an understanding and make something here. It is not comfortable. For many of us, I can imagine it will be destabilizing because this really could be a deep as real pain. This is not a horror movie. It is a love story, like "Realm of the Senses," or "Pillow Book," but instead of allowing us the safety of "watching," it forces us to inhabit the fear of passion.And. And it is from a woman who, for instance, knows that when you photograph skin, it is the movement of hair that matters, and when you get intimate, the hairs must be those finest, those ones that only a lover sees and makes move. Gallo is an intelligent actor. He is unafraid to go to these places. In a way, this is a woman's "Brown Bunny." He helps a lot. In the background are clueless beauties, men and women, who are destroyed, like the cars in an action movie's chase scene.Dalle made this the same year she made "H Story," which I count as one of the purest of film abstractions. It worked in part because she pulled nervous sweat and menstrual blood into those abstractions. Here she does precisely the opposite. She really does need to be celebrated.You may want the much tamer adventures in this domain: "cat People," Or even the lesser "The Hunger."We need to have a way to indicate a commercial airliner arriving that is better than the shot used here — and 100,000 other places. The song over the end credits is a pretty marvelous appreciation of Frank Zappa, whose earliest song provides the title. That music had the same sort of visceral, destructive purity.Ted's Evaluation -- 3 of 3: Worth watching.

GREENWOOD_96 The whole movie is strange, slow and disturbing. In a way you enter in the world of two cannibal in pain, because cannibalism is a illness (Béatrice Dalle) deliver a great performance, she very credible and tight. (Vincent Gallo) (bufallo 66) play the role of the other cannibal, with a life, he like he is under control of his animal instinct but like the girl cannibalism is a very troubling and dangerous disease and he no that fact. The movie is very animal, the character seem to be posses by instinct. The story is a bit confusing, there not much dialog in it (its a good thing) and there not a lot of thing reveled. The light, the effect, the cameras, the photograph is awesome. There a lot of inventive and in a way its refreshing to see an original movie. Don't wait.