Only mildly titillating and not especially thrilling the wannabe erotic thriller In the Cut isn't able to rise to the occasion so to speak. This yawner stars Meg Ryan as Frannie a depressed creative writing teacher in New York who keeps mostly to herself unless it's to get together with her slutty half-sister Pauline (Jennifer Jason Leigh). Wary about love Frannie's seen how messed up relationships can get. The last guy Frannie dated an mentally unstable med student (Kevin Bacon) is stalking her while crazy sis Pauline is currently stalking a married man who has a restraining order against her. These people have serious issues and dour Frannie figures its easier just to fantasize about men and masturbate (hey don't we all?). Then she meets Det. James Malloy (Mark Ruffalo) an aggressive yet charismatic cop who questions her about the brutal murder of a woman in the neighborhood. Things get all screwy (in more ways than one) when the attraction between Frannie and Malloy grows and the slick detective ends up taking Frannie to some new sexual heights while at the same time strange occurrences are making her suspect Malloy is the murderer. Aw she's just so negative. It all comes to a head so to speak as the real murderer comes to light blah blah blah--but all we want to know is will Frannie finally find a good anti-depressant?
Along with so many actresses Meg Ryan apparently believes dying her hair brown wearing no makeup and sporting a sour and we suspect surgically enhanced face (she looks more nauseated than anything) gives her dramatic heft. And what about that gutsy move of showing a little frontal? Stop the presses--America's sweetheart bares her soul and her breasts! Unfortunately it all backfires. The usually perky Ryan can't dig deep enough to inhabit Frannie's miserable persona even though she's had practice (remember When a Man Loves a Woman and Courage Under Fire) and with In the Cut she comes off looking worse than ever literally and figuratively with a wrist-slitting performance that only proves comedies will forever be her forte (where's Sally when you need her?) As the skanky cop Ruffalo (You Can Count on Me) fares a bit better but still telling a woman all the things you want do to her in bed in a flat emotionless voice doesn't help his case as a sexually provocative leading man. If Ryan's Frannie was not so lifeless maybe she and Malloy could have sizzled but they never connect. The always-good Leigh would have made a much better Frannie. As disturbed Pauline she turns in the most interesting performance of the film.
Director Jane Campion (The Piano) admits she was going for a specific look and feel with In the Cut that of the emotionally charged '70s dramas and thrillers such as the classic 1971 erotic thriller Klute about an emotionally distant prostitute who helps a detective solve a string of murders. In the Cut tries to be Klute--sans Jane Fonda's Oscar-winning performance as the prostitute and Donald Sutherland's superb turn as the smitten detective. Campion's film lacks both stellar performances and the street grit that made those older films so powerful though she does give the film the same drab grimy look of a '70s indie film to match the mood of her main characters (and what fun that is). Plus the way she annoyingly films scenes out of focus makes you think you've got myopia--the periphery is constantly out of focus. Rather than being artsy all this does is trigger a headache.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.