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Critics Consensus: An erotic thriller dulled by a messy narrative.
Critic Consensus: An erotic thriller dulled by a messy narrative.
All Critics (52) | Top Critics (13) | Fresh (26) | Rotten (26) | DVD (1)
Denis shoots this grisly-erotic roundelay in her distinctively woozy and elliptical style.
Denis is an extraordinarily reticent storyteller.
Trouble Every Day is a success in some sense, but it's hard to like a film so cold and dead.
Here the love scenes all end in someone screaming. Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
I'm not sure these words have ever been together in the same sentence: This erotic cannibal movie is boring.
Watching Trouble Every Day, at least if you don't know what's coming, is like biting into what looks like a juicy, delicious plum on a hot summer day and coming away with your mouth full of rotten pulp and living worms.
"Trouble Every Day" is a horror film that works outside the typical genre conventions while constantly referencing films from the canon.
Spare and unwilling to overstate its point. Its style is European in all the ways that are often lazily deemed pretentious. But rarely are those pretenses so perfectly horrific.
Much in a Denis work depends on players' silences instead of monologues or dialogues.
It's the kind of public self-exorcism a director can only get away with once in a career. And even at its most overdetermined, it still reflects its maker's signature love for intractable contrasts and unresolved ambiguities.
There's possibly no other living director as in sync with the politics of touch as Claire Denis.
A uniquely sensual metaphorical dramatization of sexual obsession that spends a bit too much time on its fairly ludicrous plot.
It's all about creating a haunting, unsettling mood (and this is clearly reflected in the vague title), but the problem here is that this arthouse cannibal film starts from nowhere and goes nowhere, failing to engage us in its weird plot and not amounting to anything in the end.
Super Reviewer
Haunting, Sexy and Terrifying with great reserved art direction and a shivering soundtrack by Tindersticks.
Claire Denis exercises brilliant directorial control in this brooding, deeply shocking film. The pacing of the story disarms the audience, so that when it reaches its gruesome climax we feel it on a physical level. Beatrice Dalle is terrifying in her limited amount of screen time, and Vincent Gallo is extremely convincing and understated. A beautifully made film that achieves a strong sense of atmosphere and tension. The score by Tindersticks is outstanding too. One of my favorite films from 2001.
Minimal dialogue, a film that tells its story with images instead. At first the pacing and cinematography were hypnotizing, but an hour in, the slowness was effecting my viewing experience. It's clearly a very visually calculated movie, and obviously wants to be considered art house. Due to the minimal dialogue and articulate angles, this movie causes some plot ambiguity that I hoped would not be frustrating, that it would all sort of come together in the end and that acute observation could carry the bulk of the film. It does to an extent, but still too many relationships are left unexplained and there are some disposable characters that simply muddle the story. The main thing I longed for was some more revelation about the dynamic between Dr. Leo and Dr. Brown. The Coré character is chilling, and she certainly makes this fit in a "horror" mode, though it is primarily an art house mystery that emphasizes sex and sensuality with its many flesh-on-flesh closeups. "Most Fucked Up" highlight: Coré at work on the "boy next door", Gallo's character (Dr.Brown) literally eats pussy "New Wave French Horror": this is more an extreme cinema/art house film than horror, but the gory scenes and cannibalistic subject qualify it
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