中文名: 克洛伊
英文名: Chloe
IMDb: 6.7/10 (3,418 votes)
资源格式: R5
版本: 英文版
发行日期: 2009年
导演: Atom Egoyan
演员: Julianne Moore
Liam Neeson
Amanda Seyfried
Max Thieriot
地区: 美国
语言: 英语
简介:
【影片原名】Chloe
【中文译名】克洛伊
【出品公司】Studio Canal
【出品年代】2009 年
【上映日期】 2010年3月26日 （北美）
【影片级别】USA:R
【类型】： 剧情/爱情
【影片长度】：96分钟
【字幕】： 英文
【分享时间】：12：00am - 8：00am
【官方网站】http://www.sonyclassics.com/index.php
【IMDB 链接】http://www.imdb.com/title/tt1352824
【英文介绍】:
Running Time:96min.
Release Date(U.S): March 26th, 2010 (limited)
MPAA Rating: R for strong sexual content including graphic dialogue, nudity and language.
Distributors: Sony Pictures Classics
U.S. Box Office: $1,001,992
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.
【Actors】
Julianne Moore —— Catherine Stewart
Liam Neeson —— David Stewart
Amanda Seyfried —— Chloe
Max Thieriot——Michael Stewart
R.H. Thomson (II) —— Frank
Nina Dobrev —— Anna
Julie Khaner —— Bimsy
Laura DeCarteret —— Alicia
Natalie Lisinska —— Eliza
Tiffany Knight (II) —— Trina
Meghan Heffern —— Miranda
Arlene Duncan —— Party Guest
Kathy Maloney —— Another Girl
Rosalba Martinni —— Maria
【Critics Reviews】
Entertainment Weekly(Owen Gleiberman Rate:C)
More than just about any acclaimed filmmaker you could name, Atom Egoyan (The Sweet Hereafter) has a serious obsession with deep, dark, forbidden sexual longing. He fills his movies with it, yet when Egoyan makes a heavy-breather like Chloe, he doesn't seem to realize that he's drawn to kink and taboo in the same routinely voyeuristic way that a maker of straight-to-cable trash is. Egoyan simply jettisons the usual thriller boilerplate (chase scenes, etc.) and then stretches out everything else with arty indulgence.
In Chloe, Julianne Moore plays a Toronto physician who suspects her musicology professor husband (Liam Neeson) of cheating; she hires an angelic escort named Chloe (Amanda Seyfried) to seduce him and then report the details. Chloe proceeds to do this with a diligence so beyond the call of duty that we can't help but wonder what's up. Egoyan's penchant for casting, and eroticizing, the starlet of the moment has begun to rival Woody Allen's — here, he tries to turn Seyfried into a femme fatale, but she just comes off as a wholesome ingenue without layers. The film is Moore's story, and she acts the hell out of one sexy scene, but most of Chloe is plodding and drab. We're a step ahead of Egoyan's tricks, and that's because we've seen them — all of them — before. C
Reelviews(James Berardinelli Rate:B-)
Since imprinting his name on the international indie box office with his mid-'90s one-two punch of Exotica and The Sweet Hereafter, Toronto-based filmmaker Atom Egoyan has been struggling to regain his footing. In one way or another, his last few efforts have been flawed and have not come close achieving the impact of the best titles on his resume. Nevertheless, his recent slump notwithstanding, Egoyan remains an interesting director - one whose near-misses and outright failures retain a compulsive quality. Such is the case with Chloe, whose production schedule was interrupted by a real-life tragedy that may have had far-reaching implications in the bizarre direction taken during the final act. Liam Neeson was filming Chloe at the time of his wife's death and, although Neeson returned at a later date to film a few "critical" scenes, it is unclear whether screenplay alterations were needed to accommodate his limited availability. Egoyan has stated that major changes were not necessary, but something caused a 90-degree alteration in tone and focus.
Deception lies at the core of Chloe, which is a remake of the more subtle and philosophical French film Nathalie. For about the first 2/3 of its running length, Chloe remains faithful to the spirit, if not necessarily the particulars, of its inspiration. In fact, up to about the one-hour mark, it's an excellent re-interpretation that had me excited by the possibility of the "old" Egoyan re-emerging like Rip van Winkle from a long slumber. Then, for reasons known only to the filmmakers, it metamorphoses into a Canadian lesbian version of Fatal Attraction. Far be it from me to complain about a surprisingly explicit sex scene between Julianne Moore and Amanda Seyfried, but what the hell...? What was Egoyan thinking? (Out of context, I loved the scene. It is tremendously erotic. Four-star material on the soft core meter.)
Liam Neeson plays David, a well-liked professor. He is married to Catherine (Moore), an upscale Toronto gynecologist. David enjoys harmless flirting and being open to his (female) students, and this has caused an insecure Catherine to begin flirting with the green-eyed monster. Eventually, convinced by circumstantial evidence of David's infidelity, she decides to the proof she needs to force a confrontation. For that, she hires a local doe-eyed call girl named Chloe (Seyfried). Catherine wants Chloe to seduce David then report back to her with a detailed description of everything that occurs. And it doesn't stop after just one "date." As the affair intensifies, Catherine finds herself equally repelled and fascinated in her position of second-hand voyeur, and falls victim to Chloe's seductive spell.
Nathalie employed this premise as a launching point for a talky exploration of marriage and fidelity. Chloe is more of a character study, at least until it goes off the deep end. David is the poised, confident individual in the triangle; Catherine is insecure; and Chloe is an enigma - she's not even sure who she actually is. By her own admission, she is transformed into men's fantasies then disappears when she's no longer needed. In the finished film, David is more of a prop than an actual character. Chloe zeroes in on Catherine and Chloe and the relationship that develops between them. There is little or no sexual chemistry between Seyfried and Neeson, since most of their interaction occurs off-screen. But there's plenty between Seyfried and Moore, all of which bubbles over in the aforementioned lesbian sex scene. Egoyan has directed plenty of nudity in the past, but that may be the hottest thing he has ever done, trumping the strip club sequences in Exotica.
This movie feels like what one might anticipate if Hollywood got its hands on Nathalie. Too much philosophical talk? Cut down on the dialogue. Not enough action? Add lots of sex and nudity. (Although, to be fair, Emmanuelle Beart was naked in the original.) A cerebral and ambiguous ending? Borrow from Fatal Attraction. Watching Chloe disintegrate during its closing moments is a bitter pill. It's not the first time a good movie has come to a bad end but this represents a case of extremes. I love the first 2/3 of Chloe and hate the overwrought, cheesy resolution. Also coming into play are a fondness for the actors involved in this project and an appreciation of the core ideas masticated in Nathalie.
Chloe exists in a twilight realm. It's probably too "arty" to work on a purely exploitative level (hints of the Fatal Attraction approach don't appear until about 75 minutes into the film) and the dumbed-down ending will keep it from being fully embraced by the art film crowd. It's actually enjoyable level given reasonable expectations: the performances are uniformly good, the cinematography is evocative, there's plenty of steamy action, and (despite some watering down by screenwriter Erin Cressida Wilson) some interesting issues are broached. But, for those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.
San Francisco Chronicle(Mick LaSalle Rate:B )
Drama. Starring Julianne Moore, Amanda Seyfried and Liam Neeson. Directed by Atom Egoyan. (R. 102 minutes. At Bay Area theaters.)
The success of "Chloe" is largely due to the contribution of screenwriter Erin Cressida Wilson. She takes a ponderous, overly serious, underplotted French film - "Nathalie," by the otherwise terrific French director Anne Fontaine - and turns it into something profound and satisfying.
Wilson brings out elements in the original film that were not subtle, but subterranean, latent and completely unexplored. She makes sense of motivations and of the characters' personalities and relationships. The result is a remake that's an improvement over the original, and an English-speaking women's film that, for once, beats the French at the genre they do best.
As written by Wilson and directed by Atom Egoyan, "Chloe" becomes a rueful examination of middle-aged insecurity and longing. It's the story of an intelligent professional woman (Julianne Moore) who feels herself circling the drain as she approaches 50, alienated from her snotty teenage son and emotionally abandoned by her preoccupied husband (Liam Neeson).
When confronted with persuasive evidence of her husband's infidelity, she hires a call girl, Chloe (Amanda Seyfried), to tempt him into an affair. Her hope is that the husband will resist Chloe's advances and prove himself trustworthy, but instead Chloe starts coming back with increasingly lurid stories of the husband's behavior. And though the wife doesn't want to hear it, she can't close her ears to it, either, and so she keeps meeting Chloe, and keeps paying her, and keeps raising the stakes.
This is where Egoyan and the actors do their work. They take the reliable emotional road map that is Wilson's script, and they detail it with a wealth of complicated psychological detail. Moore shows us a woman standing on the outside of her own life, getting older, barely recognizing the middle-aged self in the mirror, and surrounded, on all sides, by sexual transgression: a husband she can't trust, a son who's sneaking girls into the house at night. She is in desperate need of closeness, and the movie suggests that these debriefings of Chloe become a twisted form of intimacy.
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