Where the Truth Lies (2005)
Directed by Atom Egoyan
An ambitious reporter probes the reasons behind the sudden split of a 1950s comedy team.
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What critics compared Where the Truth Lies to
The Canada-based, Oscar-nominated director Atom Egoyan has plenty of experience with adult dramas about sex, including Exotica (1995) and Where the Truth Lies (2005), and his new Chloe -- which is a remake of the 2003 French film Nathalie -- comes with his usual brand of chilly intelligence and maturity.
Watching "Chloe," I was reminded of Egoyan's "Where the Truth Lies," in which Colin Firth and Kevin Bacon found themselves in various stages of undress with women and men.
In films great ("Exotica") and flawed but watchable ("Where The Truth Lies"), Egoyan isn't afraid to "go there," whether it's depicting sex on-screen, or more daringly, how people really think about sex on-screen.
For a little while, it seemed to be working--while his follow-up film, “Adoration,” was a frustratingly uneven work at times, it was at least ambitious and contained some beautiful artistic flourishes here and there--but with his latest film, “Chloe,” he has negated whatever forward momentum he might have had by coming up with another erotic drama of supreme silliness that is so wretched that it makes “Where the Truth Lies” seem almost coherent by comparison.
Overrated director Atom Egoyan shows control over his narrative, which improves over his last few pictures (“Adoration,” “Ararat” and “Where the Truth Lies”) which had no tangible stories of which to speak.
With his work on “Exotica” and “Where the Truth Lies,” Egoyan has danced on the sticky floors of sexual fixation before, yet “Chloe” is his most accessible stab at the genre (in fact, the picture is a remake of a 2003 French film).