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Directed by | |||
| Jane Campion | |||
Writing credits | ||
| Jane Campion | (screenplay) & | |
| Susanna Moore | (screenplay) | |
| Susanna Moore | (novel) | |
| Stavros Kazantzidis | additional writer | |
Produced by | |||
| Ray Angelic | .... | associate producer | |
| Effie Brown | .... | executive producer (as Effie T. Brown) | |
| François Ivernel | .... | executive producer | |
| Nicole Kidman | .... | producer | |
| Laurie Parker | .... | producer | |
Original Music by | |||
| Hilmar Örn Hilmarsson | |||
Cinematography by | |||
| Dion Beebe | |||
Film Editing by | |||
| Alexandre de Franceschi | (as Alexandre De Franceschi) | ||
Casting by | |||
| Kerry Barden | |||
| Mark Bennett | |||
| Billy Hopkins | |||
| Suzanne Smith | |||
Production Design by | |||
| David Brisbin | |||
Art Direction by | |||
| David Stein | |||
Set Decoration by | |||
| Andrew Baseman | |||
Costume Design by | |||
| Beatrix Aruna Pasztor | |||
Makeup Department | |||
| Rose Chatterton | .... | assistant hair stylist | |
| Lori Guidroz | .... | hair department head | |
| Neal Martz | .... | key makeup artist | |
| Neal Martz | .... | special makeup effects artist | |
| Sacred Schneidmiller | .... | special makeup effects artist | |
| Noriko Watanabe | .... | makeup designer | |
Production Management | |||
| Joane Baptiste | .... | assistant production manager | |
| Gordon MacPhail | .... | post-production supervisor | |
Art Department | |||
| James J. Archer | .... | set dresser (as Jimmy Archer) | |
| Robert Barnett | .... | camera scenic artist | |
| Stephen Barth | .... | journeyman scenic (as Steve Barth) | |
| Nils Benson | .... | graphic designer | |
| James Boniece | .... | construction grip | |
| Daniel Boxer | .... | property master (as Dan Boxer) | |
| Eric Bryant | .... | art department assistant | |
| Frances Catalano | .... | best boy construction grip (as Francis L. Catalano) | |
| Joan Finley | .... | set dresser (as Joan Finlay) | |
| Gerard Fiore | .... | construction grip (as Gerard J. Fiore) | |
| Brian Friedman | .... | art intern | |
| Steven Gamiello | .... | set dresser (as Steve Gamiello) | |
| Jonathan Graham | .... | key construction grip | |
| James Hoff | .... | journeyman scenic | |
| Tim Jackson | .... | greens person | |
| Miguel Jimenez | .... | stage construction electrician | |
| Roberto Jiménez | .... | key construction electric (as Roberto Jimenez) | |
| Dierdre Kane | .... | assistant property master | |
| Lisa Kennedy | .... | journeyman scenic | |
| Ricky King | .... | construction production assistant (as Rick King) | |
| Gordon Krause | .... | key shop craftsman | |
| Rob Landoll | .... | scenic shop person | |
| Loren Levy | .... | set dresser | |
| Jim Lillis | .... | set dresser | |
| Elizabeth Linn | .... | charge scenic | |
| James Maiello | .... | shop craftsman (as James A. Maiello) | |
| Addy McClelland | .... | art department coordinator | |
| Rebecca Meis DeMarco | .... | shopper (as Becca De Marco) | |
| Nick Miller | .... | construction coordinator | |
| Don Nace | .... | scenic foreman (as Don 'Happy' Nace) | |
| Dana Neuwirth | .... | on-set dresser | |
| Michael O'Dell Green | .... | journeyman scenic (as Michael Green) | |
| Morgan Pitts | .... | assistant property master | |
| Mike Platarote Jr. | .... | set dresser | |
| James Sadek | .... | shop craftsman foreman | |
| Amy Safhay | .... | head greensman | |
| Elliot Schimel | .... | construction production assistant (as Elliot Schimmel) | |
| Elaine Schindler | .... | journeyman scenic | |
| Klaus Schreiber | .... | construction grip | |
| Beth Solin | .... | journeyman scenic | |
| Bruce Swanson | .... | set dresser | |
| Dick Tice | .... | lead man | |
| Ray Tintori | .... | art intern | |
| Andrew M. Velechenko | .... | shop craftsman (as Andrew Velenchenko) | |
| Inbal Weinberg | .... | art intern | |
Sound Department | |||
| Brian Basham | .... | adr recordist | |
| Ron Bedrosian | .... | adr mixer | |
| Nick Breslin | .... | dialogue editor | |
| Benjamin Cheah | .... | sound effects recordist | |
| Jeanne Gilliland | .... | additional boom operator | |
| Dino Herrmann | .... | sound recordist | |
| Ken Ishii | .... | production sound mixer | |
| Michael McMenomy | .... | sound department intern | |
| Peter Miller | .... | sound designer | |
| Linda Murdoch | .... | dialogue editor | |
| Martin Oswin | .... | sound re-recording mixer | |
| Andrew Plain | .... | sound supervisor | |
| Jeff Pullman | .... | additional boom operator | |
| Schavaria Reeves | .... | boom operator | |
| Blair Slater | .... | foley supervisor | |
| Mario Vaccaro | .... | foley artist | |
| Mark Ward | .... | sound effects editor | |
| Andy Wright | .... | assistant re-recording mixer | |
| Marc Hayes | .... | adr recordist (uncredited) | |
Special Effects by | |||
| Drew Jiritano | .... | special effects supervisor | |
| Neil Ruddy | .... | special effects technician | |
Visual Effects by | |||
| Andy Brown | .... | visual effects supervisor | |
| Jonathan Dixon | .... | digital liaison | |
| Sarah Dowland | .... | visual effects producer | |
| Rebecca Dunn | .... | digital compositor | |
| Ben Malter | .... | digital artist | |
| Murray Pope | .... | visual effects executive producer | |
| Dane Rapaport | .... | systems administrator | |
| Robert Sandeman | .... | digital effects supervisor | |
| Anthos Simon | .... | digital effects producer | |
| Robert Sullivan | .... | video operations supervisor: Animal Logic | |
| Sandeep Vengsarkar | .... | digital compositor | |
| Henry Yekanians | .... | scanning and recording | |
| Ben O'Brien | .... | digital compositor (uncredited) | |
Stunts | |||
| Ray Abbott | .... | stunt driver | |
| Jeff Galpin | .... | stunt driver | |
| Julius LeFlore | .... | stunt coordinator (as Julius Le Flore) | |
| Tina Mckissick | .... | stunt driver | |
| Lucas Pena | .... | stunt driver | |
| Jodi Michelle Pynn | .... | stunt double: Frannie | |
| Jimmy P. Wong | .... | stunt driver (as Jimmy Wong) | |
| Amy Yanagisawa | .... | stunt driver (as Amy Yanagiasawa) | |
| Peter Epstein | .... | stunts (uncredited) | |
Casting Department | |||
| Lori Eastside | .... | extras casting | |
| Caitlin McKenna | .... | adr voice casting (as Caitlin McKenna-Wilkinson) | |
Costume and Wardrobe Department | |||
| Laura Downing | .... | wardrobe supervisor | |
| Chrystaline Gain | .... | wardrobe department intern | |
| Camille Loftus | .... | wardrobe department intern | |
| Frederica Nascimento | .... | wardrobe department intern | |
| Rosa Navarra | .... | wardrobe department intern | |
| Claire Pacacha | .... | wardrobe department intern | |
| Alexis Scott | .... | assistant costume designer | |
| Mitsuno Yokoo | .... | seamstress | |
Editorial Department | |||
| Rodrigo Balart | .... | first assistant editor | |
| Greg Chapman | .... | negative matcher | |
| Olivier Fontenay | .... | color grader | |
| Lara Ford | .... | editorial coordinator | |
| Leili Gueranfar | .... | editorial intern | |
| Charles Herzfeld | .... | lab coordinator: Technicolor | |
| David Hollingsworth | .... | telecine colorist | |
| Katie Mcquerrey | .... | first assistant editor: New York City | |
| Kath Raphael | .... | editorial tech (as Kathryn Raphael) | |
| Joe Violante | .... | dailies supervisor: Technicolor (as Joey Violante) | |
Music Department | |||
| Burt Bacharach | .... | composer: song "The Look of Love" | |
| David Bergeaud | .... | composer: additional music | |
| Kjartan Kjartansson | .... | music editor | |
| Laurie Parker | .... | music supervisor | |
| Julie Pearce | .... | music editor | |
| Amanda Street | .... | music consultant | |
Transportation Department | |||
| Mike Easter | .... | transportation co-captain | |
| Kenny Gaskins | .... | transportation captain | |
| Bobby Marsh | .... | driver | |
Other crew | |||
| Julie Adams | .... | dialect consultant: Ms. Meg Ryan | |
| Leslie Adler | .... | assistant: Meg Ryan | |
| Penelope Allen | .... | creative consultant | |
| Tara Andrus | .... | production secretary | |
| Laura Lynn Baker | .... | set production assistant | |
| Joane Baptiste | .... | assistant production coordinator | |
| Andrew Baseman | .... | office assistant | |
| Susan Batson | .... | creative consultant | |
| Kevin Berman | .... | consultant | |
| Keith Bethea | .... | set production assistant | |
| Louis Brown | .... | creative consultant | |
| Stacey Burgay | .... | office production assistant | |
| Michael Chenevert | .... | set production assistant | |
| Mary Cybulski | .... | script supervisor | |
| Cherien Dabis | .... | assistant to producer | |
| Michael De Lorenzo | .... | creative consultant (as Det. Michael De Lorenzo) | |
| Antonio Ferrera | .... | creative consultant | |
| John B. Finn | .... | post-production accountant | |
| Carl Ford | .... | creative consultant | |
| Kathryn Galberth | .... | production assistant (as Kathryn C. Galberth) | |
| Daniel Garrison | .... | set production assistant | |
| Nick Gehling | .... | set intern | |
| Tim Gehling | .... | set production assistant | |
| Cristina Goldstein | .... | assistant to executive producer | |
| Joshua Green | .... | creative consultant | |
| Sean Hogan | .... | production accountant | |
| Meera Lawrence | .... | assistant to director | |
| Robert A. Levine | .... | unit publicist | |
| Sam Lisenco | .... | pre-production coordinator | |
| M.J. Magbanua | .... | production coordinator | |
| Chris Marsh | .... | assistant location manager | |
| Steve McAuliff | .... | animal wrangler | |
| Patrick McDonald | .... | key set production assistant | |
| Paola Morabito | .... | assistant to director | |
| Jorge Muniz | .... | creative consultant | |
| Frank Murray | .... | assistant accountant | |
| Arthur J. Nascarella | .... | creative consultant (as Det. Arthur Nascarella) | |
| Valerie Nolan | .... | office production assistant | |
| Currie Person | .... | location assistant | |
| Griz Pomirska | .... | assistant to director | |
| M.J. Robinson | .... | creative consultant | |
| Gregory Routt | .... | location supervisor (as Greg Routt) | |
| Henri Sann | .... | set production assistant | |
| Elliot Schimel | .... | production assistant | |
| Sandra Seacat | .... | creative consultant | |
| Hal Sherman | .... | creative consultant (as Det. Hal Sherman) | |
| Colin Snapp | .... | set intern | |
| Daniel Tresca | .... | location assistant (as Dan Tresca) | |
| Mimi Turner | .... | location scout | |
| Gayle Vangrofsky | .... | location manager | |
| Anthony Velasquez | .... | creative consultant | |
| Elizabeth Verghese | .... | post-production accountant | |
| Roberta Wallach | .... | creative consultant | |
| Jane L. Watson | .... | set production assistant | |
| Craig Weinberg | .... | creative consultant (as Det. Craig Weinberg) | |
| Susanna Wyatt | .... | head of physical production: Pathé Pictures | |
| Michael K. Reynolds | .... | chef (uncredited) | |
Thanks | |||
| Kevin Bacon | .... | thanks (as Kevin Bacon III) | |
| Harvey Keitel | .... | thanks (as 'Mayor' Harvey Keitel) | |
| Nicole Landaw | .... | thanks | |
| Gwyneth Paltrow | .... | thanks | |
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| American Psycho | The Basketball Diaries | Torso | Basic Instinct | Black Belly of the Tarantula |
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| Full cast and crew | Company credits | External reviews |
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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.