DVD - 2010
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Catherine is suspicious that her husband David is having an affair, and hires Chloe, an alluring young escort to test his fidelity. Their arranged weekly meeting allows Catherine to hear the explicit details of the encounters Chloe has with David. As Catherine becomes caught up in a web of sexual desire herself, she begins a journey that will put her family in grave danger. Is it too late to stop Chloe?
Publisher: [Brampton, Ont.] : E1 Films Canada : distributed exclusively in Canada by E1 Entertainment, c2010
Edition: Widescreen
Description: 1 videodisc (96 min.) : sd., col. ; 4 3/4 inc
Branch Call Number: DVD Chlo


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Dec 28, 2017

In less capable hands, this movie might have been a disaster, but Atom Egoyan is a skilled director and Julianne Moore is an amazing actress. Amanda Seyfried and Liam Neeson are also strong. Moore is Catherine, successful doctor and wife to equally successful music professor David (Neeson). She suspects her husband of cheating on her and decides to test her theory using a beautiful young woman (Seyfried) she meets as temptress. You know this can't end well. Egoyan has created a sexy thriller that is exciting to watch.

Nov 25, 2017

Amanda Seyfried's acting was excellent!

Gary Geiserman
Aug 12, 2015

An erotica from Egoyan slipped inside a supposed psycho-thriller except the thriller never got going and died in utero (is that erotic?). Is something erotic if you don’t want to see it? If it isn’t happening to you? If you aren’t voyeuristic? If you aren’t French? I find thrillers erotic, do you? <<<<< [much of this movie happened in Atom’s head, a common affliction of those for whom thinking is faster than movement—so stay in harmony people]

Quimeras May 03, 2015

The movie is successful at building up the suspense and intrigue. But the ending is a bit of a letdown; it’s too quick and neat for my taste.

May 06, 2014


Dec 11, 2012

Well worth a watch ! Felt almost like reading a good book.

Nov 08, 2012

As with "Where the Truth Lies" (2005) Atom Egoyan's other recent, well-funded and half-convincing outing with Big Names (Colin Firth and Kevin Bacon, there), here he again tries for a commercial hit. With "Chloe" (2009) he turns out a movie that's well-acted, often easy on the eye, and never inept, yet one that's marred by often absent direction and a poorly realized story. Discomfiting, hidden passions are something of an Egoyan specialty (with highly charged child-women a near fixation), and this outing is true to form. He also manages well here with soft-core titillation - in a scene between Julianne Moore and the waif-like yet sensuous Amanda Seyfried. Still (as is also true of "WTL"), sharp, dramatic pacing is noticeably absent - a major flaw in a suspense film. It's easy to imagine a couple of crux scenes that Egoyan sleepwalks through in "Chloe" faring so much better in the crafty hands of a Hitchcock. (My advice, Atom? Do like DePalma: copy the master till your own way takes shape!)The plot is also incompletely developed: [spoiler alert to come: be warned] there is simply no plausible reason in the film for how the Seyfried character behaves, for the fixation at the root of her elaborate construct of lies. Had she been directed to watch Moore furtively while spinning out her stories, or had Moore been shown as anything beyond hurt, jealous, puzzled, yet plain ordinary, things would fit so much better in place. Had it been Monica Belluci in the Moore part; or if something, anything, had been infused in the script to show that mortals trip over themselves for a glance as she passes - this, too, might do. In any case, we are left to fill in this key void, since Egoyan does not - yet not in any way that intrigues.Some musical prodigies who launch too early, without a full array of chops, often turn out seductive, yet only middling successes and watch their promising careers slowly fizzle out. (A still-youngish Canadian cellist who was recording and receiving much praise in the `70s/80s comes readily to mind) Both of Egoyan's mentioned movies convey something along these lines. His wunderkind, albeit quirky successes (Exotica, The Sweet Hereafter) suggest him as a safe bet for producers. And much, in fact, does work well in his movies, which cannot rightly be called unpolished, unimaginative or less than professional. But the mentioned gaps lurk beneath this veneer, hinting at the incomplete palette and a stalled apprenticeship. Perhaps Egoyan would have gained from directing a string of TV police shows or with some commercial-making under his belt, before trying his hand at these two recent dramas. (Sam Peckinpah created and directed TV's The Rifleman; Norman Jewison directed TV fare through the 1950s; FF Coppola apprenticed under Roger Corman, the king of cheapo cult films; and James Cameron's roots are in Rambo and Terminator fare).Seyfried's eerie beauty has a Bette Davis-like magnetism, and who knows if even her talent. Still, we'll have to wait for a better vehicle to bring them out. Meantime, her name may just possibly come to ruin while her looks, and her stunning stare, are exploited in slick but flawed fare like this.

btmslt May 07, 2012

Eh. The original is better but also not the greatest film. This is too predictable and somewaht slow moving.

MsMicawber Mar 19, 2012

An intense and disturbing movie that you will still be thinking about days later, like all movies directed by Atom Egoyan. I thought Julianne Moore was brilliant, playing a character that most middle-aged wives of sucessful men can relate to at least a little. If you enjoy movies that make you think, I highly recommend Chloe.

jmmason Mar 10, 2012

Another one of Julienne's strange-mommie movies. This isn't the first time Big Mamma has stolen a love interest away from her teenage son ("Savage Grace"). Why does she do this crap? Would Meryl do smut like this? The rest of the cast looks perfectly at home here, only Julienne stands apart. She deserves better than this. [One thing they got right that is on display here is the absolute emptiness of family life. As Gertie Stein said, there is no there, there. It's one of those urban myths that moviemakers should explore more often: the bankruptcy of family. The new Jon Hamm movie examines the desperate sadness that infiltrates a marriage with the birth of a child.]

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