I love Egoyan, I do. “Adoration” was a great film but “Chloe”…. “Chloe” was easily one of the worst films of last year or any year for that matter. I never saw Anne Fontaine’s French Film “Nathalie” on which this is based. Are they exactly the same or is one better/worse than the other. Just wondering….
yeah, i love egoyan too but chloe was astoundingly bad. jaw-droppingly so
what makes it so bad? i think people who view it bad misses the point of the picture. particularly the ending.
they simply fail to comprehend it then dismiss everything with a concise word BAD.
Saying something is “bad” is saying absolutely nothing at all. Explain why you found it bad and we might actually get a discussion going.
Haven’t seen Nathalie…, but I thought Chloe was fun. Pretty straightforward, maybe a little obvious, but fun if you just go with it.
Granted, it was and still is my first Egoyan. I’m behind, okay.
I agree with this as a failing:Chloe is a remake of Nathalie, a French thriller from 2003 in which Fanny Ardant sicced Emmanuelle Béart on Gerard Depardieu in similar fashion. Though not without tawdriness, that movie was superior to this one, in large part because of the deftly drawn relationship between the two female leads. Atom Egoyan and his screenwriter, Erin Cressida Wilson (Secretary, Fur) are keen to impress on us how very enigmatic and mysterious the bond is between Catherine and Chloe. Are they playing out a mother-daughter scenario, competing for David’s sexual attention, or lusting after each other? But the tension between them feels artificial and overheated, with Mychael Danna’s intrusive score instructing us how to feel in virtually every moment of every scene.
Here’s how he fucked up NYT
And at 49 Mr. Egoyan exuded a youthful restlessness. “There’s a definite ceiling for the type of films I’ve done,” he said over lunch during a break in filming. “And as an artist there is a point where you’re trying to find and test how wide your sensibility can go.”
It helped, he said, that the script in question was by Erin Cressida Wilson, who has unpacked perversity in an Egoyan-like fashion with her screenplays for the S&M drama “Secretary” and the Diane Arbus fantasia “Fur.” “She can write in this very linear fashion that I couldn’t even if I tried,” Mr. Egoyan said. “It’s an extreme examination of how to re-eroticize a marriage.”