Monday 28 Jul
 
 

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05/06/2014 | Comments 0

Sorcerer

William Friedkin spends a lot of time in his 2013 memoir discussing why Sorcerer didn't click with critics and audiences even though he believes it to be better than his previous film, The Exorcist. Now that Warner Home Video has reissued Sorcerer on Blu-ray, we can see what Friedkin's fuss is all about.
04/23/2014 | Comments 0

Broadchurch: The Complete First Season

Welcome to the coastal resort of Broadchurch, population … oh, who can keep track, what will all the corpses? Yes, Broadchurch is yet another British television procedural involving the search for a murderer in a quaint little town, just like the limited series The Fall and Top of the Lake.
04/23/2014 | Comments 0

Paranormal Activity: The Marked Ones

Essentially part five in the ridiculously profitable horror franchise, Paranormal Activity: The Marked Ones continues the found-footage conceit of the other films. The difference is instead of the scares taking place in rich white suburbia, they do so in a junky apartment complex on a largely Latino side of Oxnard, Calif.
04/23/2014 | Comments 0

Holy Ghost People

Holy Ghost People examines two sisters whose bond is torn — but by what? After her sibling has been missing for more than a year, Charlotte (Emma Greenwell, TV's Shameless) intends to find out.
04/15/2014 | Comments 0
Home · Articles · Movies · Thriller · Chloe
Thriller
 

Chloe


None March 25th, 2010

Chloe_4
"Chloe" wants to be an erotic thriller.

At least, that's what I think it aims to be. It's difficult to know for sure, what with its eroticism mired in fussy pretensions and its suspense mainly stemming from how the moviemakers will possibly resolve the silliness.

Scheduled to open Friday, the movie is a serious disappointment from Atom Egoyan, the director behind such critically acclaimed fare as 1994's "Exotica" and 1997's "The Sweet Hereafter." Those films explored sexual and moral complexities, but "Chloe" is just a muddle.

The storyline follows an affluent couple whose marriage has grown as chilly as the film's Toronto setting.

David Stewart (Liam Neeson, "Taken") is a college music professor who's particularly chummy with his female students. His wife, Catherine (Julianne Moore, "A Single Man"), is a successful gynecologist who suspects her husband is up to more than innocent flirtation.

Her fears appear to be confirmed when she puts on a surprise birthday party for him. David, who has been in New York for a lecture, misses his flight back home. The next morning, Catherine finds an incriminating text and photo on his mobile phone.

Shortly thereafter, a chance meeting in a restaurant bathroom introduces Catherine to Chloe (Amanda Seyfried, "Jennifer's Body"), a young, mysterious prostitute. In the first of several tortured contrivances, Catherine hires the comely call girl to test David's fidelity.

Chloe takes the assignment and dutifully reports back that he was easy to seduce. The revelation devastates Catherine, but "” this being the kind of picture destined for late-night Cinemax "” she also finds it strangely arousing. Catherine directs Chloe to continue with the trysts and report on them in lurid detail. It becomes clear that the relationship between Chloe and Catherine is decidedly more complicated "” and intimate "” than that of temptress and victimized wife.

The notion of parallel affairs"” one carnal, the other verbal and vicarious "” is an intriguing one, and, for a while, "Chloe" is interesting, despite its own suffocating ponderousness.

But then a curious thing happens: Egoyan and screenwriter Erin Cressida Wilson ("Secretary"), in adapting the 2003 French-language film "Nathalie," plunge into eye-rolling absurdity.

Fictitious characters, by definition, can be subject to all kinds of manipulation that strain credibility, but "Chloe" does more stretching than an aerobics class. Chloe herself, despite Seyfried's gameness for displaying skin, never feels like a flesh-and-blood person. She is a plot device, pure and simple, engineered solely to move along twists that defy reason.

Not that there isn't some crass fun to be had in this mess. The final third is so outrageous, so risible, as to approach high camp. What else can you say about a flick in which a woman literally has an orgasm "” a shoegasm, if you will "” by glimpsing a closet full of footwear? That's funny stuff, but you have the impression that the filmmakers don't get their own joke. "”Phil Bacharach

 
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