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“A SUPERCHARGED EROTIC THRILLER!”
Suspicious mind
-Caryn James, MARIE CLAIRE
JULIANNE
LIAM
AMANDA
MOORE NEESON SEYFRIED
Is my husband a cheat? Let’s hire a hooker and find out!
A FILM BY ATOM EGOYAN
by Re nat a Po l t
WWW.SONYCLASSICS.COM
CENTURY REGENCY 280 Smith Ranch Road, San Rafael (800) FANDANGO VIEW THE TRAILER AT WWW.CHLOEFILM.COM BECOME A FAN AT facebook.com/chloemovie
STARTS FRIDAY, MARCH 26TH
“A MIND-BENDING AND MESMERIZING thriller that takes its time unlocking one mystery only to uncover another, all to chilling and IMMENSELY SATISFYING effect.” Betsey Sharkey, LOS ANGELES TIMES
GIRL WITH THE DRAGON TATTOO THE
www.dragontattoofilm.com
NOW PLAYING
RAFAEL FILM CENTER 1118 4TH Street, San Rafael (415) 454-1222
CHECK THEATRE DIRECTORIES OR CALL FOR SHOWTIMES
Now Available in Paperback: The Girl Who Played with Fire
Opening this week: GREENBERG (R) Opens Friday at the Regency and Sequoia in San Rafael See page 98 for showtimes.
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›› pacificsun.com
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“W
hen did we stop picking each other up at the airport?” asks Catherine (Julianne Moore) of husband David (Liam Neeson) in Chloe, the latest film by Atom Egoyan (The Sweet Hereafter, etc.). Catherine is a gynecologist, David a music professor; they live with their teenage son Michael (Max Thieriot) in a spectacular modern house in Toronto, where the action is set. In the film’s opening scene, Catherine has not picked David up from the airport—he’s been to a conference in New York—because she’s throwing him a lavish surprise birthday party. But David misses his flight and thus misses the party. Catherine, finding a text message (“Thanks for last night”) from a woman on his cell phone, is suspicious. Has David, who loves to flirt, been unfaithful? How better to test her suspicions than to hire a The Stewart household finds its prostitution budget doubled in the hooker to tempt him and report back to her? (Er... course of a few weeks. how dumb is that?) She finds a willing helper in polished and convincing portrayal. Her Chloe big-eyed, lush-lipped Chloe (Amanda Seyfried), combines the seductress and the confidante, the whom she meets in a restaurant ladies’ room. expert manipulator, the ingenue and the sexpot. Catherine’s marriage has cooled (or so she be- It’s a bravura performance. lieves), she’s upset about her son’s Chloe is filled with glitzy attempts to gain independence, and locations, from Catherine and the hooker’s accounts of advanced COMING SOON David’s glass-walled house to hanky-panky, which confirm her Chloe opens Friday at the the tony restaurants and bars worst fears, solidify her conviction Regency. See page 98 for they frequent—which makes you that her life is falling apart. But showtimes. think that Catherine must have Catherine can’t seem to get enough one helluva gynecology practice, bad news—which, oddly, seems to because we all know how little turn her on. college professors, especially in the humanities, An unexpected surprise in Chloe is Amanda make. For all its glamour, the film, from a script Seyfried. We expect great acting from Julianne by Erin Cressida Wilson, falls short in the emoMoore and Liam Neeson; but Seyfried’s recent tional department, packing more melodrama than performance in Dear John—adequate but not familiar human feeling. < outstanding—didn’t lead me to expect such a Reel off your movie reviews on TownSquare at ›› pacificsun.com
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96 PACIFIC SUN MARCH 26 – APRIL 1, 2010
ViDEO
Living on the edge
In PRECIOUS: BASED ON THE NOVEL PUSH BY SAPPHIRE, 16-year-old Claireece “Precious” Jones wears her obesity like a turtle wears its shell. The horrors done to her by her mother and abusive father—pregnant with Sibide, left, received an Oscar her second child by him—have made her a virtual slave nomination for her portrayal of in their apartment, and Precious sees little hope for Precious. escape or a future in the alternative school she’s been bumped over to. But her new teacher, Miss Blu Rain (Paula Patton), senses something lurking beneath the quiet and moodiness, the explosive rages and illiteracy—a genuine yearning to be alive. Viewers fresh off the Oscars will be treated to one of moviedom’s more astonishing contrasts, between the red carpet glamour and smiles of Gabourey Sidibe and Mo’Nique, and their turns here as demon-stricken mother and daughter, stuck in a Harlem nightmare of poverty and imminent threat. For acting debuts, Sidibe’s is a doozy, a total embrace of a character at the edge of human endurance—if the legend is true, she auditioned for the part on a whim. And Mo’Nique’s fearless personation of Mary puts her in a very special club of baddies—Hopkins as Hannibal, Hopper in Blue Velvet— so frightening you’d have trouble being pals with them in real life.—Richard Gould