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In the Cut (2003)

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New York City writing professor, Frannie Avery, has an affair with a police detective, who is investigating the murder of a beautiful young woman in her neighborhood.

Director:

Jane Campion

Writers:

Jane Campion (screenplay), Susanna Moore (screenplay) | 2 more credits »
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4,889 ( 57)
1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Jennifer Jason Leigh ... Pauline
Meg Ryan ... Frannie Avery
Michael Nuccio Michael Nuccio ... Frannie's Young Father (as Micheal Nuccio)
Allison Nega Allison Nega ... Young Father's Fiancee (as Alison Nega)
Dominick Aries Dominick Aries ... Attentive Husband
Susan Gardner Susan Gardner ... Perfect Wife
Sharrieff Pugh ... Cornelius Webb
Nick Damici ... Detective Ritchie Rodriguez
Heather Litteer ... Angela Sands
Daniel T. Booth Daniel T. Booth ... Luther Wilker Red Turtle Bartender
Yaani King Mondschein ... Frannie's Student (as Yaani King)
Frank Harts ... Frannie's Student
Sebastian Sozzi ... Frannie's Student
Zach Wegner ... Frannie's Student (as Zack Wegner)
Mark Ruffalo ... Detective Giovanni A. Malloy
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Storyline

Frankie Avery is a NYC teacher who embarks on a relationship with NYPD Detective Malloy, who, along with his partner, is investigating the murder of a young woman, part of whose body was found in the garden outside of Frannie's apartment. Malloy believes this murder is the work of a serial killer,. Beyond the murder investigation, she continues her association with Malloy despite her catching him in a lie which may have dangerous implications. As the relationship contributes, she discovers more evidence pointing to him being the serial killer. Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

Everything you know about desire is dead wrong.

Genres:

Mystery | Thriller

Motion Picture Rating (MPAA)

Rated R for strong sexuality including explicit dialogue, nudity, graphic crime scenes and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Pathé [France] | Sony Pictures

Country:

UK | Australia | USA

Language:

English

Release Date:

31 October 2003 (USA) See more »

Also Known As:

In the Cut See more »

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Box Office

Budget:

$12,000,000 (estimated)

Opening Weekend USA:

$97,625, 26 October 2003

Gross USA:

$4,750,602

Cumulative Worldwide Gross:

$23,726,793
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

|

Sound Mix:

Dolby Digital | SDDS | DTS

Color:

Black and White (fantasy sequences) (Sepiatone)| Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The Costume Department bought the entire wardrobe from the production remains of The Job (2001), a recently cancelled television show, for four hundred dollars. See more »

Goofs

John Graham and Frannie are walking down the street, and John is walking his dog on a leash. The leash disappears briefly when we see John gesturing with both hands. See more »

Quotes

[first lines]
Pauline: What does "broccoli" mean"?
Frannie: Depends on the context. Pubic hair or marijuana. It's a noun.
Pauline: And "Virginia"?
Frannie: Vagina. As in, "He penetrated her Virginia with a hammer".
See more »

Crazy Credits

Filmed 100% in New York city. See more »

Alternate Versions

The U.S. unrated DVD edition has almost a minute of footage not seen in theaters. It contains:
  • 30 extra seconds of the early scene in the basement of the Red Turtle.
  • An intimate scene involving Meg Ryan and Mark Ruffalo lasts about 20 seconds longer.
See more »

Connections

Referenced in Knocked Up (2007) See more »

Soundtracks

Que Sera Sera (Whatever Will Be Well Be)
Music by Jay Livingston
Lyrics by Ray Evans
Performed by Pink Martini
See more »

Frequently Asked Questions

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User Reviews

A Cut Above
7 November 2004 | by Buddy-51See all my reviews

Meg Ryan gives what may well be the breakthrough performance of her career in 'In the Cut,' a violent, erotic thriller from maverick filmmaker Jane Campion. Ryan plays Frannie, a college English instructor who is instinctively drawn to the seamier side of life. When women in her Manhattan neighborhood start falling victim to a grizzly serial killer, Frannie, as a possible witness, becomes a prime source of interest, both professionally and personally, for a homicide detective named Malloy, who has some troubling sexual proclivities of his own to deal with. Attracted by his edgy darkness and smoldering sexuality, Frannie succumbs to his advances, fully cognizant of the possible danger he represents. Is the law enforcement official as much of a threat to this young woman as the psychopath going about town decapitating and dismembering the local ladies? It is this kind of moral ambiguity that informs the entire movie.

From the very outset, Campion makes it clear that we are not in for a conventional police procedural. She is obviously more interested in character and mood than in the niceties of a well-oiled plot and streamlined exposition. Frannie is far from being the helpless victim or plucky heroine one usually finds at the center of such tales; she is a complex, moody, taciturn woman who seems to be drifting passively through life, with little passion, conviction or purpose to make any of it worthwhile. Even when it comes to her sexual obsessions, it often feels as if she is just going through the motions. It is hard for us to get a bead on her, for she is a perfect reflection of the world she inhabits, a world without a clear moral compass - so much so that we often don't know what we are supposed to think of her or the other people with whom she comes in contact. The script plays up the sense of dislocation by having characters appear and disappear seemingly at random throughout the movie, sometimes serving as little more than red herrings for both the story and Frannie's life. This often makes it so that we in the audience feel clueless as to where exactly the film is headed and what the overall purpose of it really is. It's often hard for us to get our bearings, yet, it is this very ambiguity, this sense of being rudderless and confused, that lifts the film above the tired conventions of the genre. In fact, the film is at its weakest when it concentrates on the intricacies of the plot - the resolution is remarkably mundane - and at its strongest when it merely records the eccentricities and passions of its two enigmatic characters.

The sexual content of the film is highly charged but not overtly offensive, with one glaring exception, at least in the 'unrated' version (I assume this does not apply to the version released to theaters). Early in the film, we are treated to a graphic, hard core close-up of an act of fellatio that clearly is not simulated. Consider yourself forewarned.

Ryan has never been better than she is here. She plays Frannie almost as if she were one of the urban walking dead, just right for a modern woman who feels no real emotional connection with the world and the people around her.

Mark Ruffalo is excellent as the cop who may be more of a threat to Frannie than the killer who's terrorizing the area. Almost as an afterthought, Kevin Bacon makes little more than a cameo appearance, overacting in the role of Frannie's stalker ex-boyfriend.

'In the Cut' is a subtle little mood piece that is more about observing behavior than it is about searching for a killer. Those looking for an intensely plotted thriller may not be as intrigued by this film as those searching for a psychosexual character study. It's the atmosphere and the performances that count in this film.


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