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critics consensus

Director/co-writer Jane Campion takes a stab at subverting the psycho-sexual thriller genre with In the Cut, but gets tangled in her own abstraction. Read critic reviews

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In the Cut Photos

Movie Info

An English teacher (Meg Ryan) has an affair with a detective (Mark Ruffalo), though she suspects him of murdering a woman.

Cast & Crew

Mark Ruffalo
Detective Malloy
Nick Damici
Detective Rodriguez
Sharrieff Pugh
Cornelius Webb
Sunrise Coigney
Frannie's Young Mother
Micheal Nuccio
Frannie's Young Father
Alison Nega
Young Father's Fiancee
Dominick Aries
Attentive Husband
Susan Gardner
Perfect Wife
Heather Litteer
Angela Sands
Daniel T. Booth
Red Turtle Bartender
Yaani King Mondschein
Frannie's Student
Frank Harts
Frannie's Student
Sebastian Sozzi
Frannie's Student
Zach Wegner
Frannie's Student
Jane Campion
Screenwriter
Susanna Moore
Screenwriter
Effie Brown
Executive Producer
François Ivernel
Executive Producer
David Stein
Art Direction
Dion Beebe
Director of Photography
Beatrix Aruna Pasztor
Costume Designer
Laurie Parker
Music Supervisor
Hilmar Örn Hilmarsson
Composer
Andrew Plain
Supervising Sound Editor
Peter Miller
Sound Designer
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Critic Reviews for In the Cut

All Critics (174) | Top Critics (61) | Fresh (57) | Rotten (117)

Audience Reviews for In the Cut

  • Mar 06, 2011
    The overriding viewer's & critic's response to <i>In the Cut</i> was "Meg Ryan finally got naked for <i>this???</i>" Which is completely valid. Poor excuse for an erotic thriller, or under any other genre you'd care to categorize. It even caused me to avoid Mark Ruffalo movies for a long time, and it turns out he's a damn fine actor. But not in this.
    Doctor S Super Reviewer
  • Oct 30, 2010
    Deals with female sexuality and psychology in a way that I couldn't quite wrap my head around, so perhaps it requires repeat viewing.
    Robert F Super Reviewer
  • Jun 05, 2010
    "in the cut" was an erotic novel written by susanna moore before jane campion adapted it into a woman's picture stirred with family drama, romance, trust. gore and sex. i read that damned novel before i watched the picture, which didn't interest me at all for the sake of meg ryan (=chick flick).jane campion tends to quieten and soften the brash tone of sadomasochistic perversion in the book, where susanna moore reveals her thick obsession with fellatio and forcible semi-rape fornications. basically the scenario is a literature-teacher accidentally witnessing a woman performing fellatio to a man in local bar when she tries to find a restroom. later she discovers the fellatio-girl is murdered by the man, whom she guess might be the police lieutenant who inquests her for the peculiar tatoo on his wrist. somehow the woman professor ends up bedding this macho lieutenant who is excellent at oral sex while suspecting he might be the ferocious killer who disposes of the fellatio girl. the condition worsens as the professor's best-friend/half-sister has her head chopped off in the bathroom sink, and at the same time professor finds the remains of her friend's jewlry in the lieutenant's pocket after a naughty fling of stormy lovemaking. so she flees for rescue and leaves the lieutenant handcuffed, but unwisely she's trapped in the hands of the real killer. i'm a literatue-major, i cannot help but focus on the book, which is harsher, dirtier and far more nasty then the movie could have ever been, written in a pseudo- stream of consciousness way of first person narration. the book could be a feminist noir for having the woman as the one to collect all the fissures of murders just like the detective in noir, of course, conventional noir is male sap crazing for the femme fatale, and here our woman is drooling over men, her homme fatale with her brazen talks of nymphmaniac desires. the most morbid part is probably that she gets titilated to watch that fellatio sex in the bar and masturbate at night imagining her lieutenant as the head-receiver. she's aware this man could be a pervert, murderer and she gets horny for IT, enjoying his various rough ways of abusive matings as well as the notion of him enslavening her on bed. in the end, even the killer is not the lieutenant but it is very obvious why she gets misled so. (because subconsciously the idea of bedding a killer is quite an appetizer to her, and the mixture of gore and orgasm is quite an turn-on for her)...the passage of her naked revelations of desire is actually quite sickening to read along as if this woman wishes to be FUCKED TO DEATH!! wouldn't the noir men in james m cain's novels, like double indemnity, be also like that? they wish for a taste of the super-cunt then perishes with it as walter cannot resist phyllis, as robert mitchum voluntarily chooses to drive together with jane greer in "out of the past" to rush toward self-ruin. this book surely has one of most jaw-dropping ending for self-ruin. ain't noir always about mascochist's reckless cost on the quest of libido-fulfillments? but the movie is DIFFERENT despite the basic plots are the same. jane campion tenderizes it with a touch of family romance. champion adds the part of the woman's visualized montages of her father proposing to her mom in ice-skating, and her reminiscence of the family past before her dad left her mom with a broken-heart, and that casts a shadow of doubt over her relationships with men. the movie uses that part to reflect the woman's emotional states: when her half-sis is killed, the montage gets deformed into a nightmare of his dad cutting her mom's legs with ice-skater. when she finally survives over the killer's devilish claws, the montage transmutes into her mom terminates the father with a pistol. when she disintegrates the negative pattern of family drama, she could manage to reform a more positive relationship with the opposite sex. meg ryan is far more ladylike than susanna moore's lascivious protagonist in the book, and she acts more like a sympathetically astayed woman who melts with a man due to human frailty and spritual desolation for the lack of a caring father figure. fellatio is only mentioned for the murderous scene and the movie tends to focus much more upon cunniligus to rid off its misogynistic elements.(it's quite an irony such woman-insulting novel is actually written by a woman) jane campion is quite creative to envision ways to joint the genre of noirish horror with the tint of woman's picture, which is about romance and her disorientated journey for affections, but somehow campion might encounter the dillemma of not pleasing audience in both genres. i admire such gritts and courage, and it is indeed pitiful this movie is so under-rated and neglected, even smart critic like rogert ebert cannot really grasp what campion tries to say. i must say "in the cut" would probably be much cooler if it was directed by david lynch, who is quite good at rendering misogynistic neo-noir materials. (ps) due to my usual dislike over meg ryan, i think i'm the only one who is fair enough to give it the rating it deserves without bias. honestly meg ryan and mark ruffalo are much hotter in their nudes than i have ever expected! if the movie is gonna be made as susanna moore wrote in the novel, jennifer jason leigh is probably a much better choice than meg ryan.
    Veronique K Super Reviewer
  • Aug 20, 2009
    Cast: Meg Ryan, Mark Ruffalo, Jennifer Jason Leigh, Kevin Bacon, Nick Damici, Sharrieff Pugh Director: Jane Campion Summary: Frannie (Meg Ryan) is a New York writing professor entwined in an erotic affair with a police detective (Mark Ruffalo) who's investigating the murder of a young woman in Frannie's neighborhood. But soon Frannie begins to suspect her lover's involvement in the crime. My Thoughts: "Considering the cast I was expecting better, but it was just so not good at all. The acting was there, but the story and all of the other stuff just was crap. Usually I will recommend a movie even when I don't like it, or care for to much, but this isn't even worth that. Just a pointless, boring, and too long of a film."

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