Realização:
Jane CampionCâmara:
Dion BeebeMúsica:
Hilmar Örn HilmarssonElenco:
Meg Ryan, Mark Ruffalo, Kevin Bacon, Jennifer Jason Leigh, Nick Damici, Sharrieff Pugh, Patrice O'Neal, Arthur J. Nascarella, Sunrise Coigney (mais)Sinopses(1)
Based on the novel by Susanna Moore, IN THE CUT tells the story of Frannie (Meg Ryan) an English teacher living in Manhattan's East Village who finds herself mixed up in a homicide investigation after a severed head turns up in her garden. Jennifer Jason Leigh is her sexually unhinged half-sister and Mark Ruffalo plays a homicide detective who falls into bed with Frannie after she's attacked on the Lower East Side. Suspects include her stalker ex-lover (Kevin Bacon) and a troubled student (Sharrieff Pugh) who's obsessed with serial killer John Wayne Gacy. As the body count rises however, Frannie realizes that the prime suspect just may be the very cop in her bed. (texto oficial do distribuidor)
(mais)Críticas (3)
Um thriller assassino envolto num humor melancólico. Jane Campion tem uma alma perturbada e gosta de a libertar através de imagens cinematográficas. Mas não deve ir aonde não se orienta bem. Do ponto de vista do thriller, o enredo avança muito lentamente, o filme é enfadonho, previsível e, no seu desfecho surpreendente é mais ingénuo do que chocante e cheio de suspense. E aquele pormenor polémico da abertura, o «broche», só está no filme para se falar dele.
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A well shot dreadful screenplay. The two distinct and notably discordant halves can't be linked together either by a crucial twist that kicks off the final chaos, nor by the desperately bewildered Meg Ryan. The overly long exchanges do not help you understand the characters, and the flashy flashbacks might blunt the boredom, but in the end, they remain mere empty inserts. The erotically inclined storyline of Frannie's personal life then irritates you with its openness, which instead of aiding the story, buries it under layers of lascivious and unfortunately occasionally ridiculous scenes. The biggest problem, however, is when lofty phrases appear in the dialogue or the monologues, which the heroes simply squander emptily. It's a shame for the unpredictable Mark Ruffalo, who doesn't deserve to have a movie like this in his filmography; the rest remains a pitiful, albeit occasionally striving, false start.
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Visually, it’s very well done (camera, editing, flashbacks, fast-paced scenes), but the director struggled with the content, resulting in a bland genre mix that might be enjoyable, but it probably won't last in memory longer than a few hours. For a shocking women's drama, it lacks more dramatic moments, for a thriller, a better screenplay, and as an erotic film, it probably wouldn't hold up either. It did have a really suffocating atmosphere, Meg Ryan was very daring, but she could have jumped upside-down and it wouldn't have changed the quality of the film.
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