Illustrates Brian dePalma's entire thriller career in one film as the film hits-and-misses just like dePalma's directorial output - this film has a schizophrenic script and visual beauty. It do have one tense finale at a motel but is also filled with false scares, hallucinations, dreams and lacks logic. It also forces you to accept John Lithgow's triple character performance that may feel a little off and "stagey".
While it's fun & entertaining, Raising Cain failed to suck me in the way other De Palma films have. Perhaps purposefully over-playful & silly, the problem for me is the flat and unbelievable characters &, perhaps I missed the point, but Lithgow also overacts the madness. No doubt De Palma wanted this, yet for me, it ruined the movie and there were too many other instances where I felt it was more cliche than clever.
Lithgow is perfect for this/these roles. Bordering on camp, with sinister undertones. The film does have a dream like quality, has that happened, is it a nightmare. I really enjoyed it, some brilliant moments of film, drama, and yes, I jumped at a certain moment. Wonderful.
The switchback narrative keeps you on your toes in the first half but as usual the film degenerates into preposterous trash by the end. All De Palma's tricks are here: lurid psychodrama, minimal character development, ludicrous dialogue, creepy, voyeuristic camerawork. His least sincere film? That said, the set pieces are dizzyingly good and his obvious delight in making it and messing with us is infectious.
Even by De Palma's standards this is bizarre and ludicrous, but I'd be lying if I said I didn't enjoy it. It's an odd and compulsive mix of technical ingenuity and knowing silliness. In some moments it feels committed to its hokey premise, but others feel like they could've been ripped straight from a Zucker brothers comedy. Impossible to imagine Hollywood making a film this peculiar today.
(3,5 / 5) De Palma rend (encore) hommage à Hitchcock, et s'amuse bien à brouiller les repères temporels et les niveaux de récit : réalité, rêve et délire s'entremêlent de manière souvent habile. John Lithgow se débrouille très bien avec son rôle d'homme "multiple", en surjouant parfois à fond (l'un des côtés volontairement drôles du film). Mais à la longue, l'enchaînement des fausses pistes devient un peu mécanique.
I was about to write "I'm split about this one" just realizing the perfect irony of that statement. Then, wondering if this half good conceptual engagement is really making up for the half bad experience... I’m forcing me to love this now, yet myself is still violently resisting...