60
The New York Times by Dana Stevens
A disjointed, sometimes fascinating mélange of moods, associations and effects.
What are people saying?
What are critics saying?
30
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]
50
Aggressively grim and gory.
38
New York Daily News by Jack Mathews
Campion has made something that's almost unbearably pretentious.
50
ReelViews by 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
A disappointing erotic thriller from director Jane Campion that amounts to an implausible update on "Looking for Mr. Goodbar."
50
The Hollywood Reporter by Michael Rechtshaffen
Emerges as a frustrating cop-out.
50
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.
40
New York Magazine (Vulture) by Peter Rainer
Campion is dabbling in several different types of movie here: police procedural, film noir, romantic melodrama, sex fantasia. None really succeeds.
50
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.