It's not the kind of movie that depends on the certainty of an ending. It's more about how things continue.
The Hollywood Reporter
Moore and Neeson beautifully underplay their roles, lending screenwriter Erin Cressida Wilson's ("Secretary") dialogue an unexpected, palpable poignancy.
For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.
Fails to completely satisfy, thanks to problems with the script that neither director nor stars can overcome.
Strong turns from its female leads and Amanda Seyfried elicits more sexual tension from proceedings than "Jennifer's Body" ever managed.
Sexual suspicion and game-playing spiral down from the exotically intriguing to outright silliness in Chloe.
Thanks to Egoyan's trademark mix of detachment and prurience, the fun is more cheesy than queasy.
The film is Moore's story, and she acts the hell out of one sexy scene, but most of Chloe is plodding and drab.
The New Yorker
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.
This sex thriller is trapped in a tepid zone between quality trash and pretentious psychodrama.