(.5 star) This movie is FUCKING AWFUL. Vincent Gallo gives the most boring line deliveries of almost any actor I have ever seen onscreen. Gallo is the most believable when he's furiously masturbating. The editing is atrocious. Directing is beyond terrible. So much "crossing the line" in the shot selections that it makes your damn head spin. And the plot is non-existent and dull as hell. Truly an awful experience.
This film is very french in tone and sensibility. It approaches vampires in a novel way that feels fresh and grapples with the more human frailty of vampires ironically. The plot is meandering and more convoluted than absolutely necessary. The premise still holds up for the majority of the film. The acting is solid and the actors remain invested throughout. It is a solid film for someone looking for nontraditional.
A chilling and truly disturbing film. A total 180 from the warmth and comfort of 35 Shots of Rum, which she made after. Vincent Gallo is appropriately creepy here. A vampire film embedded in realism. A frightening portrait of sexual violence, lust steeped in crazed brutality, and love gone horribly awry. And the ending is brilliantly anti-climatic. Denis is a master filmmaker. *bows*
[Spoiler alert] "Vampirism is a desire to possess, even to preserve, as much as it is to murder and consume, and this fundamental paradox is linked here to both marriage and casual dalliances. Few images are more chilling, even sickeningly melancholy, than the almost loving, playful kisses that Core and Shane give their victims ... as they drift into death...." - Leo Goldsmith, Notcoming.com.
I travel back in time to early 1960s America: I carry a revolver; it has but one bullet, and I may only use it on Henry Kissinger or Vincent Gallo; this is the most difficult decision I will ever have to make. Despite Gallo's face, this movie is pretty cool. Something is missing--I'm not sure what yet--but the sexy parts aren't sexy enough & the spooky tension is unevenly distributed. I like its elliptical nature.
2-3. While its lack of closure is truly frustrating, it's admirable in the way it leans into showing rather than telling, even if it doesn't reach beyond simple dividends; and the ways in which it seems to draw inspiration not just from the original Nosferatu, but Herzog's version are rather interesting. I'm glad I watched it all in all, even if it is a tad oblique.
Even Tindersticks couldn't save this cringefest. All the tension culminates into nothing, you keep watching two different stories up until one point where nothing meaningful happens. It's contemplative, meditative, deranged, and I expected it to mean something in the end. Guess what, it doesn't. It's just uneventful. Plus this whole animalistic desire and troubled release thing is wearing thin tbh. + Gallo is abysmal
No dialogue, almost no plot, but a pure tension so intense you can hardly breathe. Bodies, silences, cinematic ideas, you don't need much to capture the audience attention, to make it work, to create something alive. Claire Denis still up there, Nice OST from Tindersticks.
In Denis' 2001 existential horror film (one whose influence can be felt as recently as "Under the Skin"), the creeping death of Nosferatu is reimagined for a new century in Vincent Gallo's sunken-eyed, somnambulant stare. The result is almost too effective. But perhaps what's most shocking about a film as seemingly grim and nihilistic as "Trouble Every Day" is how much it has to tell us about unconditional love.