Chloe 2010

Michael Phillips, At the Movies: I enjoyed because the actors don't camp it. Read more

Rene Rodriguez, Miami Herald: Taking a cue from its eponymous character, Chloe skillfully seduces you, then leaves you feeling hollow and a little used. Read more

Time Out: Don't let the wayward Oscar nominees fool you; this sex thriller is trapped in a tepid zone between quality trash and pretentious psychodrama. Read more

David Edelstein, New York Magazine/Vulture: Egoyan is an expert at isolating people, but he's less sure of himself when it comes to how they connect. So what happens to the character of Chloe is the worst kind of surprise, the "Huh?" that throws you fatally out of the movie. Read more

Tom Keogh, Seattle Times: Egoyan keeps you wondering where fantasy starts and ends -- or if there's a fantasy at all. Read more

Keith Phipps, AV Club: It all goes awry in the end, but for a good stretch, Chloe neatly fixes Egoyan's career-long obsessions with identity and communication to the familiar framework of the erotic thriller. Read more

Bill Goodykoontz, Arizona Republic: The story is the problem here, devolving into a ridiculous situation that produces far more groans than chills or thrills. Read more

Janice Page, Boston Globe: It can't be recommended even to people who mostly just want to see Amanda Seyfried naked. Read more

J. R. Jones, Chicago Reader: Its twisty plot ultimately turns into Fatal Attraction with the husbandly guilt ingeniously removed. Read more

Peter Rainer, Christian Science Monitor: Many intriguing psychological crosscurrents roil this scenario, but Egoyan too often lapses into a soft-core dreamland. The film somehow manages to be both a turn-on and a turnoff. Read more

Tom Long, Detroit News: Atom Egoyan gets the erotic stuff right but pretty much drops the thriller part on its head. Read more

Owen Gleiberman, Entertainment Weekly: Most of Chloe is plodding and drab. We're a step ahead of Egoyan's tricks, and that's because we've seen them -- all of them -- before. Read more

David Germain, Associated Press: Atom Egoyan's sex thriller Chloe is a pure guilty pleasure, if you take away that part about pleasure. Read more

Laremy Legel, Film.com: It looks pretty, the actors try their best, and we may have found a burgeoning star in Amanda Seyfried. Everything else presented here is worth nothing more than a few well-timed eye rolls. Read more

Betsy Sharkey, Los Angeles Times: Envisioned as a psychosexual thriller about a woman scorned, director Atom Egoyan's latest puzzle is just puzzling, little more than a messy affair with mood lighting, sexy lingerie, heavy breathing and swelling, um, music. Read more

Anthony Lane, New Yorker: What seemed like standard practice for Parisians comes across here as unsmiling porno-farce. Read more

Stephen Whitty, Newark Star-Ledger: Thanks to its stars, it may be a while before you realize how truly artificial its premise is. Read more

Elizabeth Weitzman, New York Daily News: If you've been waiting desperately for a lesbian Fatal Attraction that manages to be simultaneously slick and tawdry, your wish has finally been granted. Read more

Kyle Smith, New York Post: Chloe may be otherwise forgettable, but it offers one of the steamier sex scenes you're likely to see at the movies this year. Read more

Sara Vilkomerson, New York Observer: With a different cast and director, this movie would be just another fuzzily lit made-for-TV movie. But because of the performances and the rather gorgeous cinematography, one is left wishing that it just could have been something more. Read more

Carrie Rickey, Philadelphia Inquirer: Moore, Seyfried and Neeson each boast sufficient sexuality to power a single movie on his or her own. Collectively, they are the erotic dream team. Read more

James Berardinelli, ReelViews: His recent slump notwithstanding, Egoyan remains an interesting director - one whose near-misses and outright failures retain a compulsive quality. Such is the case with Chloe. Read more

Richard Roeper, Richard Roeper.com: It's a "Fatal Attraction" wannabe with some admittedly erotic scenes--but the script is from the "Basic Instinct 2" playbook. Read more

Roger Ebert, Chicago Sun-Times: Egoyan never makes a story with one level. He never reveals all of the motives, especially to his characters. He invites us to be voyeurs of surfaces that may not conceal what they seem. Read more

Peter Travers, Rolling Stone: The best of Egoyan's films (The Sweet Hereafter, Exotica) deserve serious attention. Not this time. Read more

Mick LaSalle, San Francisco Chronicle: A remake that's an improvement over the original, and an English-speaking women's film that, for once, beats the French at the genre they do best. Read more

Dana Stevens, Slate: The only Verhoeven element that's missing is deliberate camp, a healthy ladling of which might have made Chloe worth watching for some reason other than the prospect of glimpsing Seyfried's and Moore's admirably formed torsos. Read more

Colin Covert, Minneapolis Star Tribune: Chloe is an astute character study in the form of an erotic suspense story. Read more

Calvin Wilson, St. Louis Post-Dispatch: Egoyan's trademark quirkiness definitely makes its presence felt. Read more

Liam Lacey, Globe and Mail: This is a high-toned erotic thriller, handled with style and some emotionally raw scenes, aiming for an effect that's pleasingly unnerving, if not outright arousing. Read more

Peter Howell, Toronto Star: The film finds real sensual heat whenever Moore and Seyfried are together, and Egoyan and cinematographer Paul Sarossy turn up the thermostat by making Toronto locales seem exotic and vaguely sinister. Read more

Dave Calhoun, Time Out: More slick, less subtle but still enjoyably barmy remake. Read more

Todd McCarthy, Variety: Sexual suspicion and game-playing spiral down from the exotically intriguing to outright silliness in Chloe. Read more

J. Hoberman, Village Voice: The grotesque finale aside, it's all too soigne to be truly risible, but, thanks to Egoyan's trademark mix of detachment and prurience, the fun is more cheesy than queasy. Read more

Ann Hornaday, Washington Post: Chloe descends into a preposterous third act that, by any measure, qualifies as a disaster. But it's proof of Egoyan's skill that the film works for as long as it does. Read more