Chloe

Cast & Crew

Julianne Moore

Catherine

Liam Neeson

David

Amanda Seyfried

Chloe

Max Thieriot

Michael

R.H. Thomson

Frank

Nina Dobrev

Anna

Julie Khaner

Bimsy

Natalie Lisinska

Eliza

Atom Egoyan

Director

Erin Cressida Wilson

Screenwriter

Ivan Reitman

Producer

Daniel Dubiecki

Producer

Tom Pollock

Producer

Ronald Halpern

Producer

Olivier Courson

Producer

Paul Sarossy

Cinematographer

Susan Shipton

Film Editing

Mychael Danna

Original Music

Phillip Barker

Production Design

Kim McQuiston

Art Director

Debra Hanson

Costume Design

Joanna Colbert

Casting

Richard Mento

Casting

John Buchan

Casting

Jason Knight

Casting

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News & Interviews for Chloe

New on Netflix in May 2022

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Critic Reviews for Chloe

Audience Reviews for Chloe

• Dec 25, 2016

  Perhaps it should have been called Fatal Attraction 2, since despite his assured direction Egoyan doesn't seem to realize how incredibly predictable his movie is, with a silly plot that also defies credibility especially regarding the actions of Julianne Moore's character.

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  Super Reviewer
• Sep 21, 2015

  We all have those actors we never really manage to click with, whom most likely have some kind of obvious promise and talent but just don't sit well with us and mine has always been Seyfried. I just don't like her, I think she's overrated. Chloe however is underrated as I hadn't ever heard the name of the film before, even though the actors involved such as Liam Neeson and Julianne Moore are household names. It wouldn't appeal to everyone, the film isn't funny, scary, thrilling or anything as such but its an intricate character piece and is more or less fascinating to experience. Think Fatal Attraction meets Roman Polanski's Carnage. There's a heavy amount of character development throughout which always prompts perspective of a benevolent director, he knows what the audience wants and promises something we only receive ten minutes before the end. Unfortunately for Egoyan's audience, it's slightly anti- climactic and we're left with plenty of unanswered questions. The acting is fantastic, really. Even from Amanda Seyfried who I've already mentioned as usually managing to turn me off from a film, but even her I found to be effortless and cool in the delivery of the title character. The chemistry between Moore, Neeson and Seyfried is taut, real and memorably erotic. Unfortunately overall, I wouldn't clamber to watch it again but I did find it enjoyable and stimulating for the duration.

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  Super Reviewer
• Feb 07, 2015

  Marital cheating is re-defined in Chloe, the story of a young femme fatale's obsession with a dysfunctional family. This was the breakout film for Amanda Seyfried, in the title role. It's a good story of sex, manipulation, with even some dark psychological noir thrown in. Featuring an excellent cast, Chloe is emotional and rich with sexual tension. I liked this more than Fatal Attraction; it is admittedly uneven yet nonetheless diabolical. Julianne Moore is really spectacular. She's gynecologist (who writes this stuff?) who's clever plan to tempt/test her husband (Neeson) bewilderingly backfires. Moore is one of my favorite actresses; she carries off more diverse roles than anyone. While I enjoyed several aspects of Egoyan's direction, the film had "B" movie flashes as well. I didn't like the ending at all; it didn't ring true and was kind of anti-climactic. Enjoy it for what it is, sexy and dangerous.

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  Super Reviewer
• Sep 05, 2013

  Hm, interestingly enough, there a few shots in this film that make Amanda Seyfried kind of look like [u]Chloe[/u] Grace Moretz, but, calm down, people, the young Ms. Moretz is nowhere to be found. Cursing like a sailor and simulating violent killings are bad enough, but an erotic thriller, now, that's reserved for the grown-ups, particularly Amanda Seyfried, who, of course, pumps up the intrigue in this thriller, at least for the guys. Now, Julianne Moore's Catherine Stewart character is just not being fair here, because if she wanted to hire a prostitute to simply make sure that her husband isn't easily tempted, then she probably shouldn't have gotten a chick who could successfully seduce 90-year-old, good old Italian gay Franco Zeffirelli, or at least one who didn't an immensely more attractive figure, complexion, bone structure, pair of lips (I say, "more" as though Moore actually does have lips) and, well, pair of eyes. Jeez, not even Moore's eyes are as pretty as Seyfried's (Hey, they're beautiful, you've just got to see them at a certain, less pronounced angle), and we're supposed to feel some kind of shame on Moore's character's husband for having an affair? Wow, that didn't really help my stance against the aggravating female opinion that men are pigs, but hey, as awesome as Liam Neeson is, he has earned himself as pretty a girl as he can get, and I'm sure you will all agree with me on that, what handful of people there are out there who actually saw this film. No, this film is reasonably popular, but they have no problem boasting that this is Atom Egoyan's highest-grossing film, even though it made its budget back by a hair, which is shocking, considering that it features some pretty big-name talents, as well as Amanda Seyfried naked. Well, to be fair, if I was going to see this in the cinemas, it would have to be a pretty impressive thriller, something that it is not, being decent and all, but not without shortcomings, even natural ones. There is certainly a fair deal of juiciness to this erotic thriller, some of which is flavored up by a hint of uniqueness, but really, this is a pretty minimalist dramatic thriller, whose thin spells are glaring, or are at least made glaring by hiccups in atmospheric compensation for limitations in kick, as well as by hiccups in the aforementioned degree of uniqueness. There are, in fact, more than a few refreshing beats to reinforce a certain unpredictability to this erotic thriller, but that just makes the conventional occasions harder to deny, and it doesn't help that you're given a touch too much time to think about the issues in storytelling. Running about 96 minutes, this film isn't that long, but then again, it doesn't really have a whole lot to say, so it takes its sweet time, bloating itself with repetitiously excess material that drags things along, until steam that conceptually drives this drama starts to die down, eventually into a bit of aimlessness. Of course, the film might very well just feel aimless because, on top of dragging its length out, this film boasts an atmosphere which drags its feet, for although the chill to Atom Egoyan's storytelling works on plenty of occasions, it just as often blands things up, betraying the core of this erotic thriller by cooling down some of the heat and watering down some of the thrills, occasionally to a dull point that obscures a sense of consequence to all of the dragging. Now, there aren't a whole lot of problems to this film, but what issues there are really do put a damper on things, and that's unfortunate, because there really is quite a bit of potential to this film that Egoyan just cannot bring to light as much as he all too obviously wants to. Yet another issue with this film is its being kind of ambitious in tone, as though Egoyan really wants this film to go a distance that it cannot reach, at least when momentum goes weighed down by the pacing problems and natural shortcomings that make the final product kind of forgettable, even with, well, you know, the beautiful Amanda Seyfried. Nevertheless, as Seyfried will remind you, there are memorable elements to this effort that go a long way, maybe not to the point of compelling you thoroughly, but certainly to the point of keeping you adequately engaged, partially thanks to sharp artistry. Mychael Danna's score isn't exactly too much to write home about, as it is among the most formulaic elements of this infrequently refreshing drama, plus it has a certain blandness to its sparseness at times, and yet, with that said, Danna does a pretty decent and sometimes even haunting job of marrying lovely minimalism with modernist style in order to create a nifty score that compliments the feel of this very modern erotic thriller, while Paul Sarossy delivers on even sharper cinematography, whose sometimes gorgeously realized balance of warm lighting and cold coloring tastefully compliments the heat of this piece. As you can imagine, style does a fair bit in bringing life to the effectiveness of this artistically sleazy thriller, but it cannot solely keep things pumping, which is where Atom Egoyan steps in, at least at times, because as much as Egoyan's atmospherically subtle storytelling chills out atmospheric kick, when it works, it draws intrigue in a near-haunting way that wakes you up more than it blands things up. There's not much direction to this minimalist thriller, and the cold spells in atmospheric storytelling intensify the blandness of the thin areas in narrative to the point of betraying the value of this thriller, but the genuine highlights in direction - of which there are quite a few - breathe some life into a good deal of potential that is, in fact, present in this subject matter. As I've been saying time and again, there's not a whole lot this film's story concept, and that is brought to light by pacing problems, as well as the occasional slip into familiarity, but on the whole, on paper, this is a pretty refreshing erotic thriller that makes often unpredictable meditations upon the dark depths of humanity, and how lust can overwhelm faithfulness. Storytelling isn't as strong as the story concept, which, even then, is thin enough for underwhelmingness to be a very real danger no matter how well-made the final product may be in places, but you get an adequate idea of what could have been, thanks to undeniable high points which decidedly wouldn't be what they ultimately are without being anchored by a certain consistent strength. For a film of a not especially high profile, this drama offers a cast headed by three relatively big-name talents, all of whom deliver, with the absolutely stunning Amanda Seyfried delivering on a convincing and layered portrayal of the depths of a very human seductress - who ends up getting in too deep with her client's affairs - that would steal the show if Julianne Moore didn't raise a standard for engagement value with a near-powerfully layered portrayal of a betrayed-feeling wife who comes to make more discoveries than she expected when investigating the depths of her husband. The performances are kind of underwritten, but ultimately the things to take home from this drama, which isn't to say that there aren't other commendable strengths, for although this film doesn't go far enough to truly reward, it offers enough to engage, even if it doesn't do an especially good job of sustaining your attention after its conclusion. When it's all said and done, natural thin spells go emphasized by repetitious narrative dragging and blanding atmospheric cold spells, often to the point of aimlessness, while overambition emphasizes the other shortcomings which ultimately secure the promising thriller as underwhelming, but not so much so that tasteful score work and cinematography, highlights in the directorial telling of a reasonably refreshing story, and strong performances - particularly those of Amanda Seyfried and Julianne Moore - don't prove to be enough to make Atom Egoyan's "Chloe" a generally engaging, if rather held back erotic thriller 2.5/5 - Fair

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  Super Reviewer