Trouble Every Day


Drama / Horror / Thriller

IMDb Rating 6 10 7,061


Downloaded times
August 26, 2020



José Garcia as Bruno Davert
Tricia Vessey as June Brown
Vincent Gallo as Shane Brown
720p.WEB 1080p.WEB
891.86 MB
English 2.0
23.976 fps
101 min
P/S N/A / N/A
1.62 GB
English 2.0
23.976 fps
101 min
P/S N/A / N/A

Movie Reviews

Reviewed by Spuzzlightyear 7 / 10 / 10

Haunting, indeed

I had a chance to view Trouble Every Day at the Cinemuerte film festival here in Vancouver, and I felt the need to talk about it, as it's an extraordinary film, yet one which I'll never see again. The film, much like Abel Ferrera's 'The Addiction', features a twist on a well treaded horror device, in this case, Cannibalism, and treats it as a horrendous disease which afflicts someone, and the horrors that person, and as well the people around them suffer. Vincent Gallo, who is terrific here, plays a newlywed who takes his new wife to France for a honeymoon. It is soon learned that he is also searching for a college friend, who with Gallo, participated in experiments during their college days which have left them scarred and ravenous. Gallo seems to be fine, keeping his cannibalistic urges to a minimum, but his college mate, played with unabandon by Beatrice Dalle, is not. As a matter of fact, this is probably the most hateful character I have ever witnessed in a movie. She frequently lures men for sex, and when the sex drive kicks in, that's when the cannibalistic urges start. Much of the cinema in the past has treated Cannibalism either in a sci fi vein (much like George Romero's "dead" movies) or for use as shock value. (Cannibal Holocaust) Very rarely has cannibalism gone down to a believable state (the only film that I can think of right now is 'Alive', but the victims were already dead, and frozen). Much of the films, were of the fantastic vein, "this won't happen here" sort of thing. While the film does take place in France, the director, Claire Denis has made the fate of the characters so realistic and haunting that it's hard to shake off. This brings me to the most ghastly, frightening and sad scene I probably have seen ever. A young man is seduced by Dalle's character, and they proceed to have sex. During which, her impulses start to take over and proceeds to bite into his neck. What follows are the most primal, maddening, shocking, screaming coming from the male - It's hard to describe. He's crying, screaming, shaking. While this is happening, like some wild animal, Dalle starts playing with the terminally injured man, nipping, playing with pieces of flesh, and kissing him. Sickening, scary, hateful, disgusting, haunting. The scene is all of these, but it's amazingly well done, and probably will stick with me for a long time. All in all, I probably won't see Trouble Every Day for a long time (if at all). Don't get me wrong, I think the film is an amazing accomplishment, one of those hooror movies that truly get under your skin and stays there. It's just a movie that is truly hard to like.

Reviewed by groggo 8 / 10 / 10

I married a cannibal

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.

Reviewed by El-Stumpo 8 / 10 / 10

A dangerous and electric eroticism

The provocative cover image of a blood-spattered Beatrice Dalle only hints at the ferocity within Claire (Chocolat, Beau Travail) Denis' sad, haunting study of sex and cannibalism that caused record walkouts and faintings at its Cannes screening. The voracious, predatory Core (Betty Blue's Dalle) is boarded up in a secluded Paris house by her husband, the errant scientist Leo (Alex Descas). She periodically escapes, seduces passing motorists and in sickening detail, methodically consumes her prey. Her fate is connected to a visiting American doctor Shane Brown (a seedy, unshaven, troubled-looking Vincent Gallo) on his honeymoon in Paris, apparently a test subject for Leo's experiments in unleashing the libido, and who is already having violent masturbatory fantasies of his gorgeous new bride (Tricia Vessey) covered in blood. "I will never hurt you," he whispers to his concerned wife, already showing a tell-tale bite mark on her shoulder. Trouble Every Day is simply and beautifully shot, and while not as blatantly pornographic as Romance or Anatomy Of Hell, it has a dangerous and electric eroticism that's hard to shake. Wide-eyed Dalle says little yet conveys an air of both tragedy and primal appetite and doesn't overplay her animalism, while Gallo (Buffalo 66) is at his greasy, neurotic best. Its slow pace and spare action deliberately unfold the story in a distinctly European fashion; at the one hour mark the film switches from carnal to charnal, spiraling toward a grotesque and shattering crescendo worthy of the great excesses of the 70s art film. Stunning.

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