I have not always liked Atom Egoyan, but, as he did in The Sweet Hereafter, he drew me in and held me with his new, and very substantial, thriller. Although CHLOE is a genre film, it is remarkably unpredictable, making conventions we know from Hitchcock and De Palma seem fresh and distinctive. Toronto in winter becomes a cheerfully seductive locale that beckons with warm and sociable interiors that are strangely voyeuristic and open to the world. Ironically transparent and reflective, their glass walls, windows, and mirrors imply secret stories and unspoken truths rife with ambiguity and the potential for mis-interpretation. The dialogue, oblique without being coy, allows for psychologically trenchant performances all around. Julianne Moore is at her very best, which in my book says more than a lot.

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