Sorry, this movie sucks

Good start, but then it gets ruined

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

There are 2 versions of this movie: the sexually explicit one and the censored PG13 one. My review is about the PG13 one which is 91 mins and released in the USA as "The Black Widow" by First Look Entertainment. And when they say it's PG13, they ain't kidding. All the explicit sexual scenes are cut (including the infamous tampon scene you may have heard about), there is zero nudity, and all the swear words are dubbed out.This is a very minimalist film about isolation, disconnection and unanswered questions. It will confuse & irritate anyone who is looking for a standard plot tied up with a pretty ribbon. Like the Brando film "Last Tango in Paris", it gives us the dysfunctional romance of two people who can't or won't share their past, who have no connection to the present and who haven't got any future. The only glue that holds them together is the house.The house, known as the "Rubber House" due to it's twisted black appearance, becomes the 3rd character in the story, like a voyeur but more than that--almost like an omniscient presence that observes everything but tells nothing. Again, this may frustrate the viewer who is looking for clearcut answers, but the poetry of the situation is far more important.There is also a lot of poetry in the dialogue, but you have to work very hard to catch the hints. There's a brilliant scene in a restaurant where the waiter (played by the unforgettable Issach de Bankole) describes a dish called "deconstructed jambalaya"--a recipe that consists of all the elements of jambalaya (a word that literally means "mishmash") but separated into its parts, not allowed to mix. The hilarious deadpan delivery of this speech along with Dafoe's reaction sums up the characters' relationship perfectly. In another cute piece of dialogue, Giada talks about how mathematicians never grow up because, living in an isolated world of abstract concepts, the never learn about the reality of life. This takes us back to the theme of disconnection and the timelessness of isolation which we feel in the Rubber House. The whole movie is very cryptically written, but if you pay attention to theme, not plot, it will make perfect sense.The key to enjoying this film is to imagine it's the first film ever made. Don't compare it to anything. Don't expect anything. There are no shootouts, car chases, criminal masterminds, Hollywood romances or melodramatic tear-jerkers. If you can somehow scrub those preconceptions out of your mind, I think you'll find that this movie is much closer to a real story than anything you've seen in the last 20 years. Whether that's entertaining or not is entirely up to you.

I rented this movie hoping for a good nice thriller, boy was I wrong. This movie makes no sense, doesn't really have a story and is just plain boring, I kept hoping for a nice twist in the plot or at least a surprise ending but no, sure Leslie dies in the end but I just didn't care.I have to admit the part I liked best and I thought was so funny is when she goes into the pantry and finds curry and says: "But you didn't like curry" and then there's this violin that strikes up as if she had just found bodies in the basement.To sum up, a strange, boring movie, I had high hopes but don't waste your time on it, it felt awkward and at times I felt more like I was reading the script rather than watching it being played out.

This movie was the worst i've ever seen. It doesn't seem to have a plot but the time you realize this is far beyond the beginning of the movie so you have to watch the shut for a long time to recognize the total incompetence of the director, aka the sloth that plays the tampon chick in the movie, and we do not believe the Willem Dafoe in this movie, he's a clone, because the real Dafoe, like we know from "apocalypse now" and "the boon dock saints", would never agreed to such a script. Duh, (Da)foe wrote this bill shut together with his twenty years minus baby. This movie starts with the credits of the two main characters, Dafoe and Colagrande, and then the two script writers, Dafoe and Colagrande, and then the director, Colagrande. Bottomline (the story); Widow meets guy, guy bangs widow, widow smashes windscreen with guy who banged her. Title in Netherlands; The black widow (different title, same bullshit). DO NOT WATCH THIS MOVIE!!! It's a total waist of time!!!

Only one thing could have redeemed this sketch. A healthy gunfight between the happy couple, the exotic model at the delicatessen, and the old-timer from the motel who was (it would have turned out) secretly watching from the woods and had been aging rent-boy to the guys when they'd shared the rubber house. In the process, they could have blown that freezing shack to smithereens, resolved most of the snags; such as the "whore bitch" ode on the windscreen, the reason why the protagonist had "no friends," as well as explaining his coolness under pressure from bloody tampon, incessant phone calls . . . and that crawl-space chic, the green thumb, and his attraction to the simpler life. Quite the technician with the human body, though. Ex-abortionist? Morgue attendant? A bit of a heartbeat would have been nice.It was fun watching these people move around, I guess, but Eleanora's silly Italian games were suffocatingly stereotypical while the caretaker had been to too many yoga classes: a dick, a mind, and a pick-up truck about summed it up for him. I also wished they could have had a bit more luggage: Eleanora is ready to go after putting some black underwear into her nifty red suitcase and the caretaker just needs a cardboard carton there at the motel.Trifling matters, you may well say. I agree, although the niggling bits just didn't add up right in this rush job. Good owl-wrangling, though, and I really felt cold all the way through.