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Title: Chloe (2009)
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| Cast overview, first billed only: | |||
| Julianne Moore | ... | Catherine Stewart | |
| Liam Neeson | ... | David Stewart | |
| Amanda Seyfried | ... | Chloe | |
| Max Thieriot | ... | Michael Stewart | |
| R.H. Thomson | ... | Frank | |
| Nina Dobrev | ... | Anna | |
| Mishu Vellani | ... | Receptionist | |
| Julie Khaner | ... | Bimsy | |
| Laura de Carteret | ... | Alicia (as Laura De Carteret) | |
| Natalie Lisinska | ... | Eliza | |
| Tiffany Lyndall-Knight | ... | Trina (as Tiffany Knight) | |
| Meghan Heffern | ... | Miranda | |
| Tamsen McDonough | ... | Waitress | |
 |
Kathryn Kriitmaa | ... | Waitress 2 |
|
|
Arlene Duncan | ... | Party Guest |
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 the perfect 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.
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The Atom Egoyan behind Chloe is not the auteur behind films like Erotica and The Sweet Hereafter, but he weaves it in the right direction, and the end result may be his most erotic film yet. Ergo, Chloe feels like enough of an Egoyan film for me to argue that going commercial is not something that will degrade the quality of his work, (although I can't say much for Where the Truth Lies.)
Dr. Catherine Stewart suspects her husband is cheating on her, so she hires a local prostitute to seduce him, and report back with news. The things that Chloe has to say really turn on Dr. Stewart, and the two women start to fall for each other. But when Catherine decides it is time to pull the plug, Chloe isn't so eager to go away.
Chloe grows increasingly eerie, and profound, which draws you in, but in the last twenty minutes, it comes close to falling apart. The picture benefits greatly from by Paul Sarossy's cinematography featuring nuances of harsh light and warm colour tones, that highlight all the interiors. What we have here a classy looking B-movie. It is intriguing but not great art.