CREEP SHOWS.('In the Cut,' 'Mystic River,' 'Elephant')(Movie Review)

A blood-red New York sky at dusk, a sordid city of graffiti and trash piles, all photographed by a handheld camera that jiggles and stumbles like a drunken sailor about to hit the deck. "In the Cut," Jane Campion's adaptation of Susanna Moore's much praised 1995 thriller, is discordant and creepy right from the opening shots. On the soundtrack, someone sings "Que Sera, Sera," the number that Doris Day belted out at the climax of Hitchcock's "The Man Who Knew Too Much." In this arrangement, however, the anonymous vocalist is accompanied by an aimlessly wandering piano, which makes the song seem neurotic--full of doubt rather than defiance. "In the Cut" is the kind of urban ...