![]() ![]() Then, of course, there are the gore scenes. Gallo, Dalle and Vessey are good actors apparently quite in tune with Denis’ goals, but her distanced, airless approach leaves them moving through a dramatic void and a suffocating air of pretension. Almost nothing about the characters’ backgrounds or relationships is made clear we’re apparently supposed to glean the characters’ inner lives and motivations from their gestures, their pauses, their looks, but the meanings remain elusive and no attempt is made to give these people feelings and emotions that a viewer can respond to. Seems intriguing, right? Not as presented by Denis in a series of long, often wordless takes with a pace that certain critics like to call languid and struck this viewer as dead boring. It appears that Shane is beginning to suffer the same malady that afflicts Coré, and that Coré’s husband might hold the key to the source of their illness. ![]() The plot certainly sounds like it has possibilities in the retelling, following Coré (Béatrice Dalle), a Parisian woman who suffers from an affliction which causes her to devour the flesh of her sex partners (and must thus be kept a virtual prisoner by her husband in their house), and Shane (Vincent Gallo), a newly married doctor who brings his bride June (Tricia Vessey) to Paris for a honeymoon. Writer/director Claire Denis is apparently trying to make a statement about the consuming nature of love (presenting the hunger for another in a literal sense), and it might have helped if she and co-scripter Jean-Pol Fargeau had presented people and situations that were remotely involving. To be sure, there are a pair of extremely nasty gore scenes on view, one at about the halfway point and one at the end, but genre fans anxious to witness them should be advised that they only arrive after long stretches of lethargic, drawn-out scenes of uninteresting character interaction. If a movie tries but completely fails to be shocking, can it still be considered a horror film? That’s the question begged by Trouble Every Day, which is arriving in American theaters on a wave of European buzz centering on its graphic and gruesome content. Even though we've been playing together for so long, it feels like the very beginning of our career.Editor's Note: This was originally published for FANGORIA on February 28, 2002, and we're proud to share it as part of The Gingold Files. We have a very firm grasp on who we are and the music we want to make. On S.O.A.R., we have become Devour the Day. By the beginning of the second film, he becomes what he's meant to be. "In the first movie, the hero is still getting used to his powers-fumbling around and slowly understanding his place. "It's like the difference between a superhero's first and second movie," smiles Joey (bass, vocals, songwriter). Simultaneously, the band shared bills with everyone from Sevendust and Three Days Grace to In This Moment and HELLYEAH. The record would sell over 20,000 copies and land multiple hits in the Top 25 at Active Rock. The world has only just begun to witness the power of Joey Chicago and his other half in Devour the Day, Blake Allison (lead vocals, guitar, songwriter, producer), though they got a pretty good glimpse at the group's potential in the form of 2014's Time & Pressure. was produced by Dan Korneff (Paramore, Lamb of God, My Chemical Romance).
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