Egoyan never makes a story with one level. He never reveals all of the motives, especially to his characters. He invites us to be voyeurs of surfaces that may not conceal what they seem.
With a different cast and director, this movie would be just another fuzzily lit made-for-TV movie. But because of the performances and the rather gorgeous cinematography, one is left wishing that it just could have been something more.
The film finds real sensual heat whenever Moore and Seyfried are together, and Egoyan and cinematographer Paul Sarossy turn up the thermostat by making Toronto locales seem exotic and vaguely sinister.
It looks pretty, the actors try their best, and we may have found a burgeoning star in Amanda Seyfried. Everything else presented here is worth nothing more than a few well-timed eye rolls.
The only Verhoeven element that's missing is deliberate camp, a healthy ladling of which might have made Chloe worth watching for some reason other than the prospect of glimpsing Seyfried's and Moore's admirably formed torsos.