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Following the gruesome murder of a young woman in her neighborhood, a self-determined woman living in New York City--as if to test the limits of her own safety--propels herself into an impossibly risky sexual liaison. Soon she grows increasingly wary about the motives of every man with whom she has contact--and about her own. Written by
There is a typo in the credits - "transportation" is spelled "tranportation" (missing the "s"). See more »
What does "broccoli" mean"?
Depends on the context. Pubic hair or marijuana. It's a noun.
Vagina. As in, "He penetrated her Virginia with a hammer".
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From beginning to end, an uninteresting, incomprehensible, unrewarding waste of time. Lack of sympathetic characters in itself is not always a bad thing (I'm thinking Taxi Driver, Bad Lieutenant, Goodfellas) but without some performance to draw you in, some attitude or conflict with which to identify, you're simply left in the company of dullards or cretins, both of which are in good supply here. I know Meg Ryan's character is supposed to be bland and timid, but she's also supposed to have some fire burning within, some unfulfilled desire that makes her enter into a risky affair (remember Diane Keaton in 'Looking For Mr. Goodbar?). She shows this in her sex scenes, but none in other moments. Mark Ruffalo? Wonderful performance, if being both wooden and extremely repellent at the same time was the requirement. Kevin Bacon, slumming once again (he seems determined to make 'Three Degrees of Kevin Bacon WAY to easy to play) provides the only interesting performance, but his character is such an obvious red herring that the fun of it diminishes under the formula. The worst offense, however, is the total lack of motive for the killings. 'In the Cut' is apparently (and I'm just guessing here) a skating reference, but what's the point? All the sturm and drang about the mother and father's romance on skates, and the ridiculous dream sequence...why? After nearly two hours spent with ugly characters in ugly surroundings amidst ugly circumstances, there is no payoff, no explanation, no insight. Yuchh.
Later: I read the book. Somehow I was compelled. And it made this abortion of a movie all the more egregious since the author had a hand in it. The book was honest and compelling and had an ending that was DEVESTATING and COMPLETELY in sync with the rest of the story. Why, why, why, do these filmmakers think they can't offer an honest, violent, sad ending to an American audience? This sell-out on the part of the author ranks right up there with the one inflicted by the director of both the original 'The Vanshing' and the US remake. Shame on you for selling out your vision.
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