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Stars indicate the most critically-acclaimed movies.
67
$9.99
75
24 City
66
Adoration
74
Afghan Star
48
Alien Trespass
56
American Violet
82
Anvil! The Story of Anvil
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Away We Go
81
Beaches of Agnes, The
62
Big Man Japan
28
Big Shot-Caller, The
78
Boys: The Sherman Brothers' Story, The
55
Brothers Bloom, The
82
Burma VJ: Reporting from a Closed Country
xx
Call of the Wild
63
Cheri
62
Cherry Blossoms
63
Dead Snow
65
Departures
18
Downloading Nancy
58
Easy Virtue
70
End of the Line, The
77
Every Little Step
64
Examined Life
80
Food, Inc.
38
Gigantic
56
Girl from Monaco, The
67
Girlfriend Experience, The
87
Gomorrah
89
Goodbye Solo
63
Great Buck Howard, The
79
Harvard Beats Yale 29-29
xx
Home
82
Hunger
91
Hurt Locker, The
16
I Hate Valentine's Day
81
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54
Is Anybody There?
71
Jerichow
58
Julia
74
Lemon Tree
36
Life is Hot in Cracktown
40
Limits of Control, The
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Little Ashes
64
Lymelife
50
Management
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Merry Gentleman, The
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Moon
35
New York
62
Not Forgotten
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Offshore
78
O'Horten
64
Outrage
40
Paris 36
54
Pontypool
71
Pressure Cooker
52
Quiet Chaos
83
Revanche
67
Rudo y Cursi
86
Seraphine
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Sex Positive
70
Shall We Kiss?
77
Sin Nombre
59
Sleep Dealer
74
Song of Sparrows, The
54
Stoning of Soraya M., The
82
Sugar
84
Summer Hours
61
Sunshine Cleaning
28
Surveillance
42
Tennessee
63
Tetro
64
Throw Down Your Heart
80
Tokyo Sonata
63
Tokyo!
70
Tony Manero
74
Treeless Mountain
88
Tulpan
74
Two Lovers
83
Tyson
83
U2 3D
60
Under Our Skin
69
Unmistaken Child
69
Valentino: The Last Emperor
22
What Goes Up
45
Whatever Works
57
Youssou Ndour: I Bring What I Love
91
Hurt Locker, The
89
Goodbye Solo
88
Tulpan
87
Gomorrah
86
Seraphine
84
Summer Hours
83
U2 3D
83
Revanche
83
Tyson
82
Burma VJ: Reporting from a Closed Country
82
Sugar
82
Hunger
82
Anvil! The Story of Anvil
81
Il Divo
81
Beaches of Agnes, The
80
Food, Inc.
80
Tokyo Sonata
79
Harvard Beats Yale 29-29
78
Boys: The Sherman Brothers' Story, The
78
O'Horten
77
Every Little Step
77
Sin Nombre
75
24 City
74
Treeless Mountain
74
Afghan Star
74
Two Lovers
74
Song of Sparrows, The
74
Lemon Tree
71
Pressure Cooker
71
Jerichow
70
Shall We Kiss?
70
Tony Manero
70
End of the Line, The
69
Valentino: The Last Emperor
69
Unmistaken Child
67
$9.99
67
Rudo y Cursi
67
Girlfriend Experience, The
66
Adoration
66
Moon
65
Sex Positive
65
Departures
64
Outrage
64
Examined Life
64
Throw Down Your Heart
64
Lymelife
63
Tokyo!
63
Cheri
63
Dead Snow
63
Tetro
63
Great Buck Howard, The
62
Cherry Blossoms
62
Big Man Japan
62
Not Forgotten
61
Sunshine Cleaning
60
Under Our Skin
59
Sleep Dealer
58
Julia
58
Easy Virtue
57
Away We Go
57
Merry Gentleman, The
57
Youssou Ndour: I Bring What I Love
56
Girl from Monaco, The
56
American Violet
55
Brothers Bloom, The
54
Is Anybody There?
54
Pontypool
54
Stoning of Soraya M., The
52
Quiet Chaos
50
Management
48
Alien Trespass
45
Whatever Works
42
Little Ashes
42
Tennessee
40
Limits of Control, The
40
Paris 36
38
Gigantic
36
Life is Hot in Cracktown
35
New York
28
Big Shot-Caller, The
28
Surveillance
22
What Goes Up
18
Downloading Nancy
16
I Hate Valentine's Day
xx
Call of the Wild
xx
Home
xx
Offshore
Stars indicate the most critically-acclaimed movies.
|
In the Cut
Screen Gems Inc.
FILM:
MPAA RATING: R for strong sexuality including explicit dialogue, nudity, graphic crime scenes and language
Starring
Meg Ryan,
Mark Ruffalo,
Kevin Bacon,
Jennifer Jason Leigh,
Nick Damici,
Sharrieff Pugh,
Frank Harts, Nancy La Scala,
and
Zach Wegner
A writing instructor (Ryan) has an erotic affair with a police detective (Ruffalo) investigating a murder in her New York neighborhood. (Sony)
| GENRE(S): |
Crime
|
Mystery
|
Suspense/Thriller
|
| WRITTEN BY: |
Susanna Moore (also novel)
Jane Campion
|
| DIRECTED BY: |
Jane Campion
|
| RELEASE DATE: |
DVD: February 10, 2004
Video: February 10, 2004
Theatrical: October 22, 2003
|
| RUNNING TIME: |
113 minutes, Color |
| ORIGIN: |
USA |
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
100
San Francisco Chronicle
Mick LaSalle
If In the Cut falls short of the masterpiece Campion intended, it's unquestionably the most ambitious and important film to come along in months.
80
Film Threat
Clint Morris
Like “Basic Instinct”, it’s a sexually charged thriller centering around a cop and a sex-mad and slightly perplexing woman.
80
Dallas Observer
Gregory Weinkauf
Ryan's performance burns with a rare and passionate veracity. The other half of the delight comes from director Jane Campion, whose sensualist eye and scabrous heart infuse In the Cut with guts and glory.
75
Chicago Tribune
Michael Wilmington
The movie has a nasty, creepy edge that never lets up, and the characters are deliberately grating and alienating. This is a thriller that, like some classic noirs, glories in its own mean aura, its casual profanity and grotesque violence.
75
Seattle Post-Intelligencer
William Arnold
Actually, the film may be too grubby and sordid and ghoulish for its own box-office good. It's certainly going to send more than a few of the New Zealand director's sensitive women fans running from the auditorium.
75
Christian Science Monitor
David Sterritt
Grim and sordid though it often is, the film has a steady flow of visually absorbing images. It's an art movie for the masses.
70
Los Angeles Times
Manohla Dargis
Jane Campion's astonishingly beautiful new film may be the most maddening and imperfect great movie of the year.
70
Chicago Reader
Jonathan Rosenbaum
The best (which also means the sexiest) Campion feature since "The Piano," featuring Meg Ryan's best performance to date and an impressive one by Mark Ruffalo.
63
Chicago Sun-Times
Roger Ebert
Meg Ryan does such an effective job of evoking her sexually hungry lonely girl that it might have been better to just follow that line and not distract her and the audience with the distraction of a crime plot.
63
Philadelphia Inquirer
Steven Rea
As a thriller, In the Cut, with its red herring characters and plot twists, turns dopey and predictable. As a portrait of a single woman, burned by love and wary of what's in store, Campion's movie has its trenchant, telling passages.
60
Empire
Emma Cochrane
Romantic images are subverted, the sex scenes are graphic and desperate. It's less grim than Susanna Moore's original novella, but the foreshadowing that all is not right is in everything, from the music to the dialogue.
60
TV Guide
Ken Fox
Ryan is raw and remarkably good, but the film's real star is New York. Draped in post-9/11 anxiety and brimming with a free-floating fear, the city hasn't appeared this threatening since the '70s.
60
The New York Times
Dana Stevens
A disjointed, sometimes fascinating mélange of moods, associations and effects.
58
Portland Oregonian
Shawn Levy
An intermittently gorgeous and evocative film that's so taken with its trangressively bloody and erotic content, it neglects such fussy niceties as coherent plotting and the creation of characters of middling intelligence, plausible psychology or sympathetic nature.
50
The Globe and Mail (Toronto)
Liam Lacey
More ambitious, but also much harder to swallow than the average Hollywood hack effort, In the Cut is a muddle of thriller and art-house phantasmagoria.
50
Austin Chronicle
Marjorie Baumgarten
Ultimately never slices things as sharply as it attempts, but it’s definitely a cut above.
50
Washington Post
Ann Hornaday
At once belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic.
50
Village Voice
J. Hoberman
Aggressively grim and gory.
50
New York Post
Lou Lumenick
A disappointing erotic thriller from director Jane Campion that amounts to an implausible update on "Looking for Mr. Goodbar."
50
The Hollywood Reporter
Michael Rechtshaffen
Emerges as a frustrating cop-out.
50
ReelViews
James Berardinelli
If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.
50
Variety
Todd McCarthy
Beautifully crafted and highlighted by an arresting change-of-pace perf by Meg Ryan as an English teacher erotically awakened by a homicide detective. But the story's unpalatable narrative holes and dramatic missteps will hold sway over the pic's better qualities.
50
The Onion (A.V. Club)
Noel Murray
Though the oppressive artiness makes the early scenes fairly ridiculous, the director's odd methods add rare tension to the climax, as it becomes evident that the finale won't be so predictable in Campion's hands.
50
Rolling Stone
Peter Travers
The result, sadly, is a mess.
50
USA Today
Mike Clark
An OK mood piece but story-hungry murder mystery that flubs its whodunit fundamentals.
40
Wall Street Journal
Joe Morgenstern
A remarkably dislikable film, long on atmosphere -- I admired Dion Beebe's brooding cinematography -- and desperately short on vitality.
40
Salon.com
Stephanie Zacharek
Isn't just a movie about decapitation; it's a decapitated movie. It has no idea where its head is at.
40
New York Magazine
Peter Rainer
Campion is dabbling in several different types of movie here: police procedural, film noir, romantic melodrama, sex fantasia. None really succeeds.
40
Film Threat
Rick Kisonak
Campion and company may like to think they've made something provocative, moody and new but it's really just "Looking For Mr. Goodbar" with extra nuts.
38
Boston Globe
Ty Burr
It might even work if In the Cut was remotely convincing as a thriller, but Campion can't help wrinkling her nose at genre.
38
Miami Herald
Rene Rodriguez
The movie is all moist grime and seedy atmosphere, and it's certainly something to look at: It's beautifully lurid. But it's an empty, unengaging movie, and by the end, it has become ridiculous, too.
38
New York Daily News
Jack Mathews
Campion has made something that's almost unbearably pretentious.
30
The New Yorker
David Denby
In the Cut is completely controlled and all of a piece, and yet, apart from one performance (Mark Ruffalo), it's terrible--a thriller devoid of incidental pleasures or humor, or even commonplace reality. [27 October 2003, p. 112]
30
LA Weekly
Ella Taylor
As a movie, it must stand or fall by intense chemistry between the lead characters. Sadly, as co-written by Campion and Moore, In the Cut suffers from a fatal emotional and erotic imbalance.
30
Washington Post
Desson Thomson
Although Ryan is cannily cast against type, she doesn't bring much more than muttery incoherence and nudity to the role.
25
Charlotte Observer
Lawrence Toppman
Campion has no clue how to sustain suspense and no actress of the caliber of Holly Hunter, Nicole Kidman or Kate Winslet (her recent leading ladies) in the main role.
25
Baltimore Sun
Michael Sragow
In the Cut is a disaster. Familiar to the bone, arty on the surface, it could serve as the doomed pilot for a nightmare TV spinoff: Law & Order: Literary Victims Unit.
0
Entertainment Weekly
Owen Gleiberman
Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.
 The average user rating for this movie is 6.4 (out of 10) based on 21 User Votes
Note: User votes are NOT included in the Metascore calculation.
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