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

[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. Full Review

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. Full Review

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. Full Review

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. Full Review

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

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. Full Review