Chloe

Je me suis tenu à l’écart de Chloe pendant très, très longtemps, à cause de mes penchants francophones et parce que je le percevais comme nettement inférieur à l'excellent film français Nathalie. En plus, j’ai un peu de mal avec Amanda Seyfried. Mais mes préjugés se sont vite évaporés quand j’ai réalisé qu’Atom Egoyan avait pondu un film d’une qualité au moins égale. Bien entendu, il l’a un peu arrangé à son goût, mais le cœur de l’intrigue et le dénouement sont préservés. Quant à Amanda Seyfried, j’ai commencé à la respecter, surtout qu’il s’agissait du meilleur rôle que je l’ai vue incarner jusqu’à présent. En fait, je dirais même maintenant qu’elle est capable d’interpréter le rôle de Linda Lovelace mieux que Lindsay Lohan… (10/08/2013)

A gripping psychological drama with thriller elements, in which Amanda Seyfried slowly (but surely) emerges from the shadow of "that girl from Mamma Mia" and proves that she is capable of playing a more complex character quite adequately. My beloved Julianne Moore didn't disappoint either, Liam Neeson standard. My first ever encounter with Atom Egoyan. 70-75% (26/07/2010)

It almost seems for a while that the film is trying to say something, whether about a person or society, but in the end, it ends up not saying anything and almost slipping into a cheap thriller just to make it slightly more interesting for the audience. It is sad that the viewer will probably remember the breasts of the two main actresses the most. (05/08/2016)

Atom Egoyan has long been one of the North American filmmakers who created a counterbalance to the commercial trends of big Hollywood studios. He was simply more intimate, not always great and flawless, but usually different from the producers of blockbusters and commercial hits. If I didn't know the director's name, I wouldn't have guessed that he was behind this project. It imitates the templates of mainstream genre production, which I would forgive Egoyan for, but I can't forgive him for the terrible psychology of his characters, their motivations are weak, and except for David, everyone behaves like patients in a psychiatric institution. And the over-the-top ending seals the fate of the film. A midlife crisis and mapping of one's sexual identity can be approached in a much more civilian manner and Egoyan probably succumbed to the pressure from the producers. My overall impression is 45%, mainly for the strong cast and also a bit for Egoyan's previous achievements. (04/02/2019)

The always decent Amanda Seyfried has changed her colors nicely here. Actually, I would never have imagined her in a role like this. Otherwise, though, I was expecting a bigger psycho. Seems to me that it could have used a bit more spice and ingenuity. The ending was too quick and uncomplicated for me... again, one average. (27/07/2011)