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Terry Lawson, Detroit Free Press: More of a curiosity than a full-fledged movie. Read more
Rene Rodriguez, Miami Herald: For all its clammy atmosphere and sinful airs, In the Cut is a cold, airless, frustratingly detached experience. Read more
Richard Roeper, Ebert & Roeper: [T]he character that Meg Ryan is playing so well here is so compelling. I think it's a wonderful performance that the movie is worth seeing for that. Read more
Manohla Dargis, Los Angeles Times: May be the most maddening and imperfect great movie of the year. Read more
Moira MacDonald, Seattle Times: It's not for everyone, but I couldn't take my eyes away. Read more
Michael Wilmington, Chicago Tribune: Campion impudently sabotages her star's history, and Ryan, joining the plot, makes Frannie come alive, looking as provocatively out of place as Diane Keaton did playing the nymphomaniac teacher in the sexual hell of 1977's Looking for Mr. Goodbar. Read more
A.O. Scott, New York Times: A disjointed, sometimes fascinating melange of moods, associations and effects. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: In a sense, it's a Rorschach test of what it's like to be single, 40ish, female and living alone in New York City. Read more
Ty Burr, Boston Globe: It's been a while since a major filmmaker has made a movie this heavy with symbolism, this portentous, and this bad. Read more
Eric Harrison, Houston Chronicle: Despite its weaknesses, this is an entrancing movie. Read more
Lisa Kennedy, Denver Post: Stunning and unrelenting. Read more
Owen Gleiberman, Entertainment Weekly: Stripped of Moore's eager, exploratory prose, In the Cut has, in essence, become a dreadfully inert late-night cable movie, complete with cheesy coincidences and dismembered limbs. Read more
Philip Wuntch, Dallas Morning News: In the Cut is several cuts below. Read more
Ella Taylor, L.A. Weekly: Suffers from a fatal emotional and erotic imbalance. Read more
Peter Rainer, New York Magazine/Vulture: Read more
Stephen Whitty, Newark Star-Ledger: A smart match of art and artist. Read more
Jack Mathews, New York Daily News: I hate this movie. Read more
Rex Reed, New York Observer: It is nasty, gruesome, pointlessly kinky and gratuitously awful. Read more
Andrew Sarris, New York Observer: I found the movie reasonably absorbing from moment to moment. Read more
Roger Moore, Orlando Sentinel: A puzzling affair of murky motivations and leaps of logic that no amount of Meg Ryan skin and no number of faked orgasms can hide. Read more
James Berardinelli, ReelViews: If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint. Read more
Roger Ebert, Chicago Sun-Times: All of this is well done, and yet the movie is kind of a shambles. The key supporting characters are awkwardly used, as if the movie thinks it ought to have them but doesn't know why. Read more
Stephanie Zacharek, Salon.com: In the Cut isn't just a movie about decapitation; it's a decapitated movie. It has no idea where its head is at. Read more
Mick LaSalle, San Francisco Chronicle: Unquestionably the most ambitious and important film to come along in months. Read more
Jeff Strickler, Minneapolis Star Tribune: A movie that frustrates as much as it entertains because it promises more than it can deliver. Read more
Liam Lacey, Globe and Mail: A muddle of thriller and art-house phantasmagoria. Read more
Peter Howell, Toronto Star: When In The Cut is good, it is very good. Read more
Mike Clark, USA Today: [A] story-hungry murder mystery that flubs its whodunit fundamentals. Read more
J. Hoberman, Village Voice: It's a throwback to the New York policiers of the Koch era, yet wacky enough to suggest a procedural in the Land of Oz. Read more
Desson Thomson, Washington Post: More of an intriguing project than a satisfying experience. Read more
Ann Hornaday, Washington Post: Belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic. Read more