They have an affair and she soon learns that the perfect husband is anything but perfect. Of course, De Palma’s spiritual mentor was no stranger to black humor (often of the droll variety) even in his most gripping thrillers and horrors. Theoretically,I'd never miss another De Palma/Lithgow,as I strongly appropriate both artists. Second time watching and I chose the Director's Cut this time. Also included on the first disc are two smaller nuggets: the film's spoiler-heavy Theatrical Trailer (2 minutes) and a decent Still Gallery featuring just over two dozen stills, head shots, international posters, and more. De Palma gives the game away in the first act and the crazed (il)logic of the story and larger-than-life personalities fighting for dominance over Carter’s vessel plays out in a conventional narrative structure. Raising Cain: Collector’s Edition (Scream Factory, Blu-ray) – Jenny (Lolita Davidovich, all soft curves and dreamy smiles) is married to “the perfect man,” says her best friend Sarah (Mel Harris). The Director's Cut is infinitely more satisfying. It was like seeing the film again for the first time, mainlining De Palma’s thematic obsessions and stylistic adventurousness in a form suited to its component elements. However, some visual tricks and audio tricks offer plenty of fun little moments, as well. Just as in Dressed to Kill (1980), the film would open on one woman’s erotic odyssey and then careen into a thriller, revealing an entirely different story playing out around this episode. 04 August 2016. I have enjoyed his work since seeing him glowering and growling through that oddball feature The Adventures of Buckaroo Banzai Across the Eighth Dimension way back in 1984. It really does demonstrate all the good and bad qualities of a film’s post-production lifecycle. You can see Peet Gelderblom’s work on his Vimeo page. Qualifying purchases made using the above product links can result in our little site receiving money from big, bad Amazon. Gleefully subversive and extremely shocking at times, Raising Cain's main drawbacks are a lack of likable characters and a few too many dips into the "jump scare" well. Both actors show a real affinity with and appreciation of De Palma’s approach and cinematic experimentation. Sure, the visuals sometimes homage the various influences a little too closely. Yes the kind of shit you'd expect to see on a cheesy sitcom. Cold, distant, a bit off . The result is not only a testament to the power of editing—these are the same damned scenes but shuffled into what I consider a more approachable and engaging narrative—but to De Palma’s eye for scenes. Robot’, Alfred Hitchcock’s original ‘Psycho’ on Peacock, ‘John Carpenter’s Vampires’ on Amazon Prime, What to stream: Aaron Sorkin’s ‘Chicago 7’ on Netflix, Heidi Schrek’s ‘Constitution’ on Amazon, Universal Horrors: the birth of American horror cinema and the original cinematic shared universe on Peacock, ‘Moneyball’ – the business of baseball on Netflix, ‘Vampyr’ – Classic horror as tone poem on HBO Max and Criterion Channel, ‘My Beautiful Laundrette’ on Amazon Prime, ‘Dracula’s Daughter’ – the elegant offspring on Peacock, Zoe Saldana kills in ‘Colombiana’ on Netflix, Hammer Films’ ‘The Horror of Dracula’ on HBO Max. Synopsis: Although she is married to Carter (John Lithgow), who her friend claims is the perfect husband, Jenny (Lolita Davidovitch) is stuck in a place she does not want to be. We eventually learn that she has never really gotten to know her hubby when he lashes out at her with unexpected violence. The resulting film was almost universally panned in mainstream reviews and remains De Palma’s most polarizing film among his true believers, many of whom see it as a bad self-parody. When this dreamboat sails back into her life and Carter spies their affair, we have a pretty good idea where this is headed. As in the theatrical cut, logic is bent for dramatic and thematic effect. This vision of Raising Cain parodies, embraces, celebrates, and experiments with the psychodrama and plays on De Palma’s thematic obsessions and stylistic trademarks (and our expectations of them) to create a film may indeed have been a little too far ahead of its time. His wife, Jenny, becomes concerned that he is obsessively studying their daughter, Amy; he regards her like a scientist tracking the development of his creation. I wasn't as impressed with the changes...but since both versions are included here on separate discs, who can complain either way? Later, I came to learn Raising Cain had a troubled history with test audiences and ended up being completely recut. What’s not here is an interview with De Palma himself, all the more glaring an omission given the numerous interviews he has given for other disc releases. Poster and still image taken from IMDB. Much of this comes from Lithgow’s spirited performances, particularly as the bad boy brother Cain. I'll never look at John Lithgow the same way again... https://www.framerated.co....isingcain02.jpg, The Great Unwatched DVD/Blu-Ray Project or The Quixotic Foibles of a Cinephile: A Collector's Lament in A minor, Brian De Palma films I've seen - from best to worst, A-Z Of Films I've Watched *Work In Progress*, Anti-Canon: Bottom Films Rated by RYMers 2014, Bottom Films as Voted by RYMers (There's a list now). Students of film could learn a lot here. Save maybe this one is a bit less graceful in its structuring, with bizarre dreams within dreams within flashbacks until it starts to cut the shit and find some grounding eventually. All in all, the Director's Cut is the better version. Whereas the theatrical version of the film is a bit of a weird mess, the director’s cut is an exceptional bit of psychological horror. . ( Log Out / There is a delightful black humor to the calculations and casual cruelties in this feature. In the slow-motion rapture of the climax, as the police swarm a hotel in the midst of a rescue and murder, no one even notices a furtive figure in a trenchcoat, face-concealing hat, and bare feet sneak off the only elevator in the building and slip away from the cops. Now, in the wake of films like Pulp Fiction and Memento and Eternal Sunshine of the Spotless Mind and Inception, it looks cheeky and clever and self-aware: the ultimate De Palma puzzle box. What I got was . The overuse of dream sequences muddles the narrative and makes it nearly impossible to create any attachment to the characters. This movie is all over the place and really shows Brian De Palma could make some stinkers between his successes. Also included is an introduction from Peet Gelderblom titled "Changing Cain: De Palma's Cult Classic Restored" (2 minutes) and a Video Essay (13 minutes) by the artist and writer, which is apparently a longer version of one originally created in 2012. Maybe even before that. In the Theatrical Cut this sentence is missing since the cut is slightly different. Director's Cut: 18 sec. For the Shout Factory Blu-ray release, the company released a double disc edition that included both the theatrical release as well as a director’s cut of the film. But he got cold feet in post-production, fearing that audiences would get distracted by the romantic prologue or lost in the thickets of his narrative intricacies, and instead opened the film on Carter and his psychosis. The director’s cut of the film opens slowly, builds to a shocking moment, backs up in time to show us another character’s side of the story hinted at during the opening sequences, and then carries on toward a memorable climax and conclusion. Okay, that’s no secret. However, Raising Cain is available through various markets not associated with that particular company. The Director’s Cut of Raising Cain is not the work of Brian De Palma. Writer, musician and cartoonist when he feels like it. The result is even more confusing at times: the trade-off for Jenny's story being placed up front is that her affair takes place before we see any obvious signs of Carter's insanity. Not only is he returning to the Hitchcock well once again, plumbing depths that have long since become bone dry, but it's pretty clear he's doing camp for camp's sake...and it's so damn cringeworthy. They’re simply applying the wrong kind of reason. Other layers have shifted and a few scenes are now blended with different transitions, but the second half of the film runs essentially the same in both versions. Not the weird experience I recall, Raising Cain is a little gem, imperfect perhaps and maybe a little too devoted to its influences for its own good, but an engaging, powerful story well told. In 2000, The Exorcist received an extended director's cut, at the time called The Version You've Never Seen, and here's what it changes. When scenes are interchanged, there are often transitions in the Theatrical Version which is why those scenes are 1-2 seconds longer in the Director's Cut - not being mentioned in the foloowing comparison.
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