dceich A man afflicted with a disease that makes him want to kill and eat people (I'm a "brass tacks" reviewer, so there it is) during intercourse (Gallo) and his wife are headed to Paris on their honeymoon. Meanwhile, somewhere in Paris, another man covers up some ghastly murders his wife (Dalle) commits, due to having the same disease. Gallo's condition is deteriorating. Some other things happen, slowly, that neither the director nor the audience care about, in order to set up the eventual meeting of Gallo and Dalle. Things get ugly right around there.The first scene is haunting and reminds me of the best kind of horror, like Let The Right One In (Swedish version), creepy with what is left unsaid, the damage done by unstoppable carnal need and the lengths a husband will go through to cover up for his wife. I began loving this film.Sadly, though, I didn't feel that way by the film's end. Much of it had to do with Gallo's flat performance, which may be due to the direction or to his lack of actorly ability. Either way it fails in every way when the guy speaks. Particularly bad were the attempts at a back story, which should have just been left out of the film altogether. If you're going to make an arty character study in the horror genre, just do it. Don't throw in awful scenes just to make the film partially coherent, don't CYA, don't bore me with Vincent Gallo attempting to read dialogue. It's just bad, unnecessary, and takes away from any good the film does eventually deliver. That said, there were excellent moments in this film. The scenes with the chambermaid I found to be brilliantly done. We're proved again and again the pliability and vulnerability of human flesh. From the way the camera stares down at the back of her neck as she pushes her cart around, to the way she washes her feet after her long shift. This does really establish a sense of empathy for the victim that is essential (at least for me) to actually being horrified. Denis knows how to create an atmosphere, and capture a feeling stylistically, I'll give her that.Dalle is breathtaking as a woman who is closeted away by her fearful but devoted husband. She shows remorse, but also seems resentful of his attempts to protect her, in one scene ripping up the entire household in an attempt to break out and kill again. He buries the bodies of her victims and then lovingly sponges away the blood from her body. Such an interesting relationship should have spent more time on screen than anything with Gallo having his "headaches."I think this film would have been quite good had the back story just been absent. Does knowing why the afflicted have the disease really add to the meaning and metaphor attempting to be conveyed here? Not at all for me. Everything about the plot seems to be created, and by created I mean thrown in thoughtlessly, in order to have the meeting between Gallo's character and the one played by Dalle. Which ends, given the synopsis I read before seeing the movie, in a somewhat disappointing and far-from-climactic way. Finally we have the couple of scenes that everyone mentions, and let's face it, these scenes are why this movie exists at all. Everything else seems to serve as a vehicle for the long and drawn out disgust-a-thon of eating someone alive whilst having sex. Now, I'm not sitting here aghast at the tastelessness of Denis for including this in her film. I'm a fan of Noe's Irreversible for it's incredibly stark and real depiction of rape in the sickest sense, because it is sick. But there's something about these scenes that is a little too shallow. The director is obviously messing with our heads, but can't quite pull it off. The scene with Dalle is perverse, but hauntingly so, and the scene with Gallo starts off, surprisingly, actually somewhat erotically. However I just can't be convinced these weren't done at least in part in the spirit just to satisfy the weird competitiveness people have for seeing the depths of depravity and/or having the "courage" to face it in their films. Something about these scenes, from at least a directorial point of view, is just less-than-genuine. Sorry, Ms. Denis, but I'm not convinced.

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.

entlerjl I finally got to view this movie when I got if from Netflix. Although the gore is great, it is scarce to say the least. If you like foreign films, this one is for you. Great work with color schemes and music, but the camera shots are like film school quality. This movie could have and should have been a lot better. The plot had a lot of holes and the viewer needed more information about the entire aspect of the plot. The Who, What, Why, Where, and How's were not addressed as well as they should have been for an effective dramatic experience. Some of the gore was essentially not needed in its entirety. It was how ever very disturbing and effective.The acting was sub par at least. Some of the cast seemed to be reading off of cue cards. For a movie that was supposed to be very dramatic, the actors did not have any chemistry between them as an ensemble. I have no idea why Vincent Gallo was cast. He has got to be one of the most unattractive male leads in the industry. Anyhow. This movie was really bad all around. I would recommend that it be avoided at all costs. This is not one of the films you should see before you die. This is not a film for gore hounds either as it has minimal gore. The gross out alone is not reason enough for a viewing of this movie. I'm sure if you want to know what is so gross about this movie, just ask someone who has seen it and save the rental fee. Stay away from Trouble Every Day.

Michael Kerjman Voodoo-practitioner – Afro-French male doctor's sex-toy creature allowed leaving her locked room by a hypnotised curious intruder being consumed during copulating, is overpowered by a strong American happened to drop in into a doctor's house at the timing, who had since then fallen into her footsteps of a thirst for blood and flash during orgasm.A perverted love of "Dracula" mixed with an unstoppable quest for sadist sex of "Frisk", framed with Parisian charm makes this terrific film realistic to a degree of a potential usage by anti-AIDS and pro-obscenity campaigners.Highly recommended.