Review of In the Cut (2003) by Mada M — 29 Sep 2009

I haven't seen many Meg Ryan films. There's a good reason for this - I can't stand her! That wholesome, ditzy, 'cute as a button' persona projected in so many of her cinematic efforts is not something that I care to watch. Perhaps this is why In The Cut is one of the few Meg Ryan films that I have enjoyed. Playing against type, Ryan essays Frannie Averey, a lonely English teacher with mousey hair, dowdy clothes and an honours degree in miserabilism! Although Ryan misjudges the role by wandering through most scenes in a stupor, the regularity with which she sheds her clothes during the story at least means that her performance is brave if nothing else!

Joining her is Mark Ruffalo, who also enjoys getting his kit off as Averey's love interest, Detective Malloy, who is tracking a serial killer. Clearly inspired by Ryan's al fresco performance, he is also quite happy to loll about with his finger buffet on display. Neither is involved (understandably), however, in an early scene where a woman graphically performs fellatio on a man in a bar. At that point, I really did think that I'd made a grave error in my choice of viewing material!

The erotic scenes all adjunct a fairly routine serial killer story where the audience is lead up various dead ends; leaving them guessing who the murderer may be. Fortunately, all the murders occur off screen, however nothing is held back in portraying their aftermath. Butchered body parts found in a washing machine and a key character's head discovered floating in a bath all turn the stomach. What makes the film stand out though is Jane Campion's direction which masterfully creates an air of erotic tension and an unsettling atmosphere through the use of odd images, jarring music and a script that you believe really could go anywhere. That the film concludes in such a familiar and hackneyed way (why do serial killers always have 'lairs' that are found in ridiculous locations?) is perhaps the only let down in a carefully crafted film.

In the hands of a lesser director, this film would just be another sleazy adult thriller found on the top shelf of a video rental store (do they still exist?) or late night on Channel 5. Campion performs the miracle, however, of transforming grindhouse into arthouse with some mostly fine performances, brave imagery and a script that really will keep you guessing until the final reel.