In the Cut (2003) - Rotten Tomatoes

In the Cut2003

In the Cut (2003)



Critic 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.

In the Cut Photos

Movie Info

Following the brutal murder of a young woman in her neighborhood, a self-determined NYU professor dares to test the limits of her own safety by propelling herself into an impossibly risky sexual liaison with a detective. As the affair increasingly pushes the limits of sexuality, she grows wary about the motives of every male with whom she has contact--including the detective.

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Meg Ryan
as Frannie
Mark Ruffalo
as Det. Malloy
Kevin Bacon
as John Graham
Nick Damici
as Det. Rodriguez
Sharrieff Pugh
as Cornelius Webb
Sunrise Coigney
as Frannie's Young Mother
Micheal Nuccio
as Frannie's Young Father
Michael Nuccio
as Frannie's Young Father
Alison Nega
as Young Father's Fiancée
Dominick Aries
as Attentive Husband
Susan Gardner
as Perfect Wife
Heather Litteer
as Angela Sands
Daniel T. Booth
as Red Turtle Bartender
Yaani King
as Frannie's Student
James Fiero
as Detective Halloran
Frank Harts
as Frannie's Student
Sebastian Sozzi
as Frannie's Student
Zach Wegner
as Frannie's Student
Patrice O'Neal
as Hector, Baby Doll Bouncer
Funda Duyal
as Baby Doll Bartender
Theo Kogan
as Baby Doll Bartender
Sandy Vital
as Baby Doll Dancer
Sharon Riggins
as Baby Doll Dancer
Nancy La Scala
as Baby Doll Dancer
Ami Goodheart
as Baby Doll Dancer
Panicker Upendran
as Taxi Driver
Upendran Paniker
as Taxi Driver
Kendra Zimmerman
as Café Waitress
Michelle Hurst
as Teacher At Frannie's School
Hal Sherman
as Forensic Detective
Dana Lubotsky
as Laundry Room Murder Witness
Jacinto Taras Riddick
as Detective In Precinct
Arthur J. Nascarella
as Capt. Crosely
James Firo
as Det. Halloran
Cordell Clyde
as Informer
Tim House
as Baby Doll Bar Customer
Julius Le Flore
as Cursing Motorist
Vinny Vella Sr.
as Concerned Bystander
Karen Riggins
as Baby Doll Dancer
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Critic Reviews for In the Cut

All Critics (176) | Top Critics (61)

In the Cut is masterful in its suggestion of the ambient, omnipresent air of sexual threat that exists in traditional heterosexual dynamics.

February 18, 2021 | Full Review…

Meg Ryan is desperately, unpersuasively naked in Jane Campion's ludicrous erotic thriller...

March 16, 2020 | Full Review…

As in Portrait of a Lady, Campion demonstrates great faith in the fantasy sequence as a guide to the psyche, but this time the device seems simplistic .

April 1, 2019 | Full Review…

The thriller elements are half-baked and predictable. The violence is never scary nor repellent.

April 1, 2019 | Full Review…

I still consider this the best (which also means the sexiest) Campion feature since The Piano, featuring Meg Ryan's finest performance to date and an impressive one by Mark Ruffalo.

April 1, 2019 | Full Review…

Campion excels in the erotic... She is, however, clearly useless at thrillers, and the final stages of this film fall just short of risible.

April 1, 2019 | Full Review…

Audience Reviews for In the Cut


This film makes even better viewing second time around, an Erotic Thriller that pushes boundaries and risk taking with a woman who takes voyeuristic fantasies to a new and intense level, beyond her comfort zone, this sort of parodies Meg Ryan's acting career too, this being beyond her comfort zone in image and typecast roles. A serial killer film to keep the audience focused, almost sub-plotted to heighten the intensity heightens. Great performances all around particularly Mark Ruffalo, enjoyed Jennifer Jason Leigh's character too and Meg Ryan as you've never seen her.

Lady D'arbanville
Lady D'arbanville

Super Reviewer

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."


Super Reviewer


"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 Kwak
Veronique Kwak

Super Reviewer

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