AND I STILL SAY THE SCREENCAP LOOKS LIKE ERIN ANDREWS
' HOTEL ROOM!
Chloe - 7.9/10 Third Best 'Fingering'[HQ]
by Mo Rourk (videos)
1:50
Catherine and David, she a doctor, he a professor, are at first glance the perfect couple. Happily married with a talented teenage son, they appear to have an idyllic life. But when David misses a flight and his surprise birthday party, Catherine's long simmering suspicions rise to the surface. Suspecting infidelity, she decides to hire an escort to seduce her husband and test his loyalty. Catherine finds herself 'directing' Chloe's encounters with David, and Chloe's end of the bargain is to report back, the descriptions becoming increasingly graphic as the meetings multiply.
* Doctor
* Escort
* Panties Hit The Floor
* Remake Of French Film
* Female Doctor
* Erotica
* Seduction
* Remake Of European Film
* Lesbian Sex Scene
* One Word Title
* First Lesbian Experience
* Physician
* Caught Having Sex
* Fingering
* Lesbian Scene
* Remake
* Female Nudity
* Remake Of Spanish Film
* Woman On Top
* Suspicious Wife
* Character Name In Title
Is this a remake?
The film is an adaptation of the French 2003 thriller "Nathalie."
# In the middle of March 2009, Liam Neeson interrupted filming his scenes in order to visit his wife Natasha Richardson in hospital after she had a skiing accident. The brain injury she received from this accident lead to her death a few days later. Neeson completed his performance during his bereavement.
# Both Julianne Moore and Amanda Seyfried have the same birthday.
Release dates for
Chloe (2009) More at IMDbPro
Country Date
Canada 13 September 2009 (Toronto International Film Festival)
Spain 18 September 2009 (San Sebastián Film Festival)
Canada 13 October 2009 (Vancouver International Film Festival)
UK 22 October 2009 (BFI London Film Festival)
Greece 31 October 2009 (Panorama of European Cinema)
USA November 2009 (American Film Market)
Belgium 3 March 2010
France 3 March 2010
Netherlands 4 March 2010
UK 5 March 2010
Canada 19 March 2010 (limited)
USA 19 March 2010
Germany 15 April 2010
Argentina 13 May 2010
(AKA)
Hloi Greece
Saw CHLOE last night. I love all of Atom Egoyan's films and this was no exception. We were warned going in that the movie was going to be sexually graphic. While this movie was highly erotic it was done extremely tastefully. Other directors would have gone more and cheapened it. Toward the end I was afraid we were heading for another Fatal Attraction but fortunately did not go that way. This was Julianne Moore's movie, no doubt, and I am rather surprised at the amount of nudity she showed. And Amanda Seyfried was HOT! Liam Neeson is almost a footnote in this film but he shows what a professional he is to do a film of this type after his family tragedy. I think this was the most erotic movie Egoyan's done since Exotica. Highly recommended.
Author: BTMalinowski from United States
Thrilling erotic adventure with some of the best acting we've seen out of Amanda Seyfreid to date! The direction lulls you in to a wild ride as more of the plot is revealed. MUST SEE. It was so enjoyable to see Toronto finally shot AS TORONTO. It is also noteworthy that Liam Neeson courageously filmed a portion of this movie after the tragic death of his wife. With wild twists and turns. I saw this at the Toronto film festival and couldn't have been more pleasantly surprised by the result. Also, keep an eye out for the up and coming actor Max Theriot. He's going to be someone to look out for. Julianne Moore also rings in a great acting performance with her great control of a woman who's life begins to spiral out of control.
Author: ldealberti (laurentdealberti@gmail.com) from United Kingdom
*** This review may contain spoilers ***
I was very intrigued by that film, being a long time admirer of Atom Egoyan, so was surprised to see what he could do with a more traditional story and bigger cast.
How wrong could I be! To my horror, this turned out to be one of those terrible glossy psycho sexual thrillers like Fatal attraction which I thought die a well deserved death in the early 90's. And Atom Egoyan brought absolutely nothing to it, bar from a couple of scenes that bear his trademark.
While Julianne Moore does what she can with a rather unsympathetic character, Amanda Seyfried is the saving grace of this film, managing to add some depth a nuances to a not particularly well written character (I actually ended up rooting for her which am sure was not the intention of the director!) And Toronto looks great in the winter (and nice to see Toronto as Toronto for once, instead of passing it for another American city!) but that's the only good things I can say about this, avoid!
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Author: Framescourer from London, UK
Dreadful. As a romantic thriller in which an impressionable, scheming nymphette gets dragged into a couple's mid-life wobble, there's a fair bit of sex - imagined, evoked, solipsistic. Well, this is treated fetishistically by Egoyan, pornographically, filling in the blank spaces after emotional sequences. There is nothing to invest the sex with any danger or meaning. I don't buy the idea of Catherine getting entangled with Chloe through some sort of strange, sexual-metaphysical transposition. It just seems like an excuse for two attractive women to get it on.
The script is a mess of simplistic statements and incoherence. I imagine that it didn't help having Anna Fontaine (who directed the 2003 film, Nathalie, on which this is based) co-writing the script: having already made a coherent version, reworking it could be more like unravelling it. Julianne Moore, who is the chief protagonist, is really quite good, although clearly acting under Egoyan's direction. Neeson as the husband and Max Thieriot (Michael) are plain and occasionally over-melodramatic.
Unforgivably though, Seyfried is hung out to dry by the script and the director. They've no idea what her character is. There's not even an allusion to a history, and her 'call girl' background, which opens the film, is effectively abandoned halfway through. I'm still no better informed as to her real acting capability.
I liked Mychael Danna's music but it's disingenuously appropriated as a sub-Hermann lacquer on a film that, despite Egoyan's aspirations, isn't a patch on Hitchcock. Music and its indifferent use throughout the film is actually a striking bell-weather of the film's failings. I knew it was going to be dreadful when one of the opening scenes shows Neeson's music lecturer pointing at students to ask them questions about opera. Point and show is about the extent of the film's dialectic.
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