A raw, tactile consideration of the mystery and suspense of touch and want. Her style is gorgeous and discomfiting, with febrile camera moves, warm yet cloacal lighting, gestures in ruby-and-amber haze.

| Original Score: 10/10 | Feb 13, 2025

Campion paired a crime story with her heroine’s transformative, erotically-charged journey of self-discovery, and the result is a luscious drama of much emotional insight...

| Original Score: 4/5 | Nov 12, 2024

In The Cut doesn’t quite bring together all its disparate threads. The film thrives as it tackles the cerebral and contradictory desires of Frannie, but can’t quite wrap up the murder mystery in the story.

| Jun 6, 2024

It is a wildly uneven film, but the high points absolutely make it worthy of our time.

| Feb 27, 2024

Campion’s In the Cut is a criminally neglected masterpiece...

| Dec 27, 2022

In the Cut is both a distinctly 21st-century work and unmistakably of apiece with Campions beloved period pieces.

| Apr 2, 2022

In The Cut leans more into its erotic elements than its thrills, which won't please everyone. At its core, Campion's film is about female pleasure and agency and, in that capacity, this sexy film is extremely successful

| Original Score: 4/5 | Jan 14, 2022

...may not be pure Campion, but it's also the sort of movie only Campion could have made.

| Original Score: 3.5/4 | Oct 27, 2021

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

| Feb 18, 2021

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

| Mar 16, 2020

In the Cut -- if what we have on screen is the best part of the film that made the cut, one can only imagine the dearth of unsavoriness that landed on the cutting room floor - the place this entire film should be.

| Nov 8, 2019

This doesn't mean that Ryan is bad in the film, for she's not -- she's merely adequate, if a little bland, in a bad picture. And In the Cut is indeed a bad picture; surprisingly bad, really, given the pedigree involved.

| Apr 2, 2019

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 .

| Apr 2, 2019

The plotting and police procedural aspects of In the Cut are perfunctory and unconvincing, and for all its air of breaking new ground, it is ploughing down some familiar furrows.

| Apr 2, 2019

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

| Apr 2, 2019

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.

| Apr 2, 2019

There's nothing terribly involving or enlightening in this brooding fever dream about life and death on the dingy margins of the city.

| Original Score: 2/4 | Apr 2, 2019

It's about a lighthouse without any light except the revleation of a truth - and at that point, who cares?

| Apr 1, 2019

[Jane Campion] brings shocking beauty to a traditionally male genre - and proves she's not just cinema's most eloquent female filmmaker, but one of its essential visionaries.

| Apr 1, 2019

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

| Apr 1, 2019