Chloe
Sony Pictures Classics | Release Date: March 26, 2010 CRITIC SCORE DISTRIBUTION
49
METASCORE
Mixed or average reviews based on 33 Critic Reviews
Positive:
10
Mixed:
19
Negative:
4
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Critic Reviews

Critic scorePublicationBy date
88
Chicago Sun-TimesRoger Ebert
It's not the kind of movie that depends on the certainty of an ending. It's more about how things continue. Read full review
75
St. Louis Post-DispatchCalvin Wilson
Egoyan doesn't flinch from exploring the dark side of curiosity. That includes dealing with sexuality in a way that might make some moviegoers uncomfortable. Read full review
75
San Francisco ChronicleMick LaSalle
The success of Chloe is largely due to the contribution of screenwriter Erin Cressida Wilson. Read full review
75
The Globe and Mail (Toronto)Liam Lacey
Chloe is director Atom Egoyan’s foray into the realm of what might be called artful trash. This is a high-toned erotic thriller, handled with style and some emotionally raw scenes, aiming for an effect that’s pleasingly unnerving, if not outright arousing. Read full review
70
The Hollywood ReporterMichael Rechtshaffen
Moore and Neeson beautifully underplay their roles, lending screenwriter Erin Cressida Wilson's ("Secretary") dialogue an unexpected, palpable poignancy. Read full review
67
Portland OregonianMarc Mohan
The ensuing love triangle culminates in a frankly loopy finale that tarnishes the film's earlier insights and ensures that it will be only remembered for some hot and heavy bedroom scenes. Read full review
67
Tampa Bay TimesSteve Persall
The movie maintains its posture of mystery long after the solution is evident, and the best suggestion is to just smirk with the flow. Read full review
63
ReelViewsJames Berardinelli
For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment. Read full review
63
Philadelphia InquirerCarrie Rickey
There are two questions to ask about a film such as Chloe: Is it erotic? Yes. Is it good? Yes, until it devolves into third-act pretentiousness and preposterousness. Read full review
63
ObserverSara Vilkomerson
With a different cast and director, this movie would be just another fuzzily lit made-for-TV movie. But because of the performances and the rather gorgeous cinematography, one is left wishing that it just could have been something more. Read full review
60
Boxoffice MagazinePam Grady
Fails to completely satisfy, thanks to problems with the script that neither director nor stars can overcome. Read full review
60
EmpireAnna Smith
Strong turns from its female leads and Amanda Seyfried elicits more sexual tension from proceedings than "Jennifer's Body" ever managed. Read full review
60
Los Angeles TimesBetsy Sharkey
Envisioned as a psychosexual thriller about a woman scorned, director Atom Egoyan's latest puzzle is just puzzling, little more than a messy affair with mood lighting, sexy lingerie, heavy breathing and swelling, um, music. Read full review
58
The A.V. ClubKeith Phipps
It all goes awry in the end, but for a good stretch, Chloe neatly fixes Egoyan’s career-long obsessions with identity and communication to the familiar framework of the erotic thriller. Read full review
58
Christian Science MonitorPeter Rainer
The film somehow manages to be both a turn-on and a turnoff. Read full review
50
VarietyTodd McCarthy
Sexual suspicion and game-playing spiral down from the exotically intriguing to outright silliness in Chloe. Read full review
50
Village VoiceJ. Hoberman
Thanks to Egoyan's trademark mix of detachment and prurience, the fun is more cheesy than queasy. Read full review
50
Entertainment WeeklyOwen Gleiberman
The film is Moore's story, and she acts the hell out of one sexy scene, but most of Chloe is plodding and drab. Read full review
50
Charlotte ObserverLawrence Toppman
Good acting from the three principals – four, if we count Max Thieriot as the son – keeps this leaky craft afloat for quite a while. Read full review
50
Rolling StonePeter Travers
I didn't believe a word of it. Read full review
50
The New York TimesA.O. Scott
Mr. Egoyan has shown off these etchings before -- a solemn young woman in lingerie, a handsome older man in the throes of erotic distress -- and the artistry he brings to the display feels tired and thin this time around. Chloe works hard at seduction, but its heart isn’t really in the game. Read full review
50
Chicago ReaderJ.R. Jones
As the aching spouse, Moore delivers what is for her an unusually sympathetic performance. Read full review
50
New York PostKyle Smith
A Skinemax movie cloaked in art-house fancy dress, the sex thriller Chloe might have worked better as an out-and-out popcorn flick starring, say, Jennifer Lopez. Read full review
50
NPRMark Jenkins
But c'mon! Erotic obsession, catfights, naked chicks making out -- at heart Chloe is a midnight movie, and all the Vivaldi in the world can't change that. Read full review
50
New Orleans Times-PicayuneMike Scott
It's neither a good movie nor a bad movie. It's just a movie. Read full review
50
Arizona RepublicBill Goodykoontz
The story is the problem here, devolving into a ridiculous situation that produces far more groans than chills or thrills. Read full review
50
SlateDana Stevens
Chloe remains engaging for longer than any movie this schlocky and overwritten has a right to be. But the movie loses what little goodwill it's managed to build up by the last act, which feels clumsily grafted from a completely different film. Read full review
50
New York Magazine (Vulture)David Edelstein
Few films go as obviously and bewilderingly wrong as Chloe, but for the first hour it’s a potent little melodrama in which the smooth, super-controlled storytelling contains the theme of unruly obsession like a straitjacket. Read full review
40
Austin ChronicleMarjorie Baumgarten
While Chloe may seem reminiscent of Egoyan’s outlandish thriller "Where the Truth Lies," it also calls to mind another would-be thriller about marital infidelity that starred Neeson and was utterly ludicrous: "The Other Man." Read full review
38
Boston GlobeJanice Page
It can’t be recommended even to people who mostly just want to see Amanda Seyfried naked. Read full review
30
The New YorkerAnthony Lane
The movie--directed by Atom Egoyan, who should know better--is closely adapted from “Nathalie,” a French film of 2004, with Gérard Depardieu and Emmanuelle Béart, but what seemed like standard practice for Parisians comes across here as unsmiling porno-farce. Read full review
20
Time OutJoshua Rothkopf
This sex thriller is trapped in a tepid zone between quality trash and pretentious psychodrama. Read full review
20
New York Daily NewsElizabeth Weitzman
A tacky 'Fatal Attraction' for the lesbian set. Read full review
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