I like the storyline of this show,it attract me so much

Sadly Over-hyped

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

The film never slows down or bores, plunging from one harrowing sequence to the next.

After watching Carlito's Way, and positively falling in love with the film, I did what I typically tend to do, and begin seeking out more works from the director. I was a mixed bag in regards to Brian De Palma before Carlito's Way, I had seen Carrie, Scarface, and The Untouchables. I nearly despise Scarface, and thought Carrie was "alright" but Carlito's Way enticed me to see more of his work. De Palma made Raising Cain in 1992, just one year before Carlito's Way. Other than knowing of the director's involvement, you could not have convinced me that these films were by the same person. As different in tone as they are in storyline, Raising Cain follows a child psychologist destined to finish the work of his father, leading a double life unbeknownst to his wife. Coming off a bit like a made-for-TV movie, Raising Cain was a bizarre journey into the psyche of someone with Dissociative identity disorder. Child psychologist Dr. Carter Nix (John Lithgow) spends a lot of time with his daughter, almost to an obsessive degree. This arrangement works well for his busy oncologist wife, Jenny (Lolita Davidovich). Although, Jenny sometimes feels uncomfortable by the amount of time Carter spends with their daughter, and his level of involvement in her daily life, Jenny's friends keep telling her hos much they wish their husbands were even a bit like Carter, putting her mind temporarily at ease. Just as her fears begin to resurface again, she rekindles an old romance with a man she met at the hospital years before.Jenny being preoccupied with her old flame puts her motherly duties aside and is more than willing to allow Carter the amount of time he has become used to having with their daughter. What Jenny doesn't know, is that Carter leads a whole other life that she knows nothing about wherein he kidnaps children to perform experiments on them with his father who is believed to be dead. After finding out about his wife's affair, Carter summons his brother "Cain" to kill his wife and incriminate her lover. When Jenny survives and begins to find out just what her husband is up to, she begins a chase with the police to find her daughter before Carter can replicate his deranged father's experiments. There is a lot to unpack in Raising Cain, as there often is in a film dealing with Dissociative identity disorder. De Palma was certainly at what seems to be his most unhinged in Raising Cain, not afraid to create a story line difficult to follow fraught with confusion and unsettling imagery. Raising Cain suffers a bit from its zany approach. Not that a film needs a strict genre, but the film definitely couldn't decide what it wanted to be. In parts horror, other parts suspense, and other parts psychological thriller; Raising Cain attempts to fulfill any genre it can, succeeding nowhere. John Lithgow seems grossly miscast, which is unfortunate because, in one way or another, his is the face the audience sees on screen the most. The film did have an engaging sound design, preventing one from turning the film off before it ends. The sound is actually the most engaging aspect of the film, which shouldn't be the case in a film as all over the place as this one. I did enjoy the same wonderful low angle shots so prevalent in Carlito's Way, so that was a plus. Ultimately, Raising Cain never picks a lane, preventing it from speeding away effectively in any of them, reminiscent of a Lifetime movie that only putters once it gets in the air.

this is a good Saturday night feature to view! make some popcorn and get ready for a weird but fun ride. famous actors are in it which surprised me because it is a cheesy film but entertaining .not gory like today's offerings. it held my attention to the very end. give it a try and you just might enjoy it!

Jenny finds herself doubting if she is happy when her ex comes back into town... she reminds herself that she is married to the perfect man, an excellent psychiatrist who's taken time off his own practice to spend more time with their daughter, Amy. He is getting somewhat obsessive about it, though... almost like he's... studying her. De Palma goes so far in this homage to Hitchcock that the entire film is one big tribute to the master, and he plays with the camera as he also loves to do(we get a couple of long takes, one of them 4 full minutes, and one sequence has great use of slow-mo... not quite the subway scene in The Untouchables, of course), and we get a tension-packed, suspenseful psychological thriller(light, in the way that it uses the Hollywood approach to mental problems; it is actually a brutal, disturbing, bloody and violent piece with some strong sexuality... also setting it apart from Alfred's pictures - then again, he might have gone this far if the censorship laws had allowed for it, considering stuff like Frenzy), with a lot of the power coming from Lithgow's inherent creepiness(and he's perfectly cast, if some of what he's asked to do here is awkward... and do not look at the IMDb listings before watching, it will spoil a lot). The characters aren't bad(nothing spectacular, but likable and interesting enough), and the acting is plenty solid. This has a lot going on, especially as far as the plot goes(you may want to give it a second viewing just to make sure you picked up on everything that happened), and not only for a fast-paced movie that doesn't break 90 minutes. The chronology can really confuse you, as well as the score of surprises(and several fake-outs!). And at the end of the day, this is mainly meant to entertain you, and it lacks the kick of credible flicks. The DVD comes with a trailer. I recommend this to any fan of the director, star and the man whose body of work provided the inspiration. 6/10

Carter Nix seems to be a devoted husband and father, but behind this facade lurks a shady past and some decidedly odd relations. When Carter's twisted brother Cain shows up and some local children go missing, can the police figure out what's going on in time ?Brian DePalma's best films are just so deliciously twisted, and in my view this is one of his very best. There are at least five fantastic aaaaahhhhh moments in it; the comatose wife awaking from her slumber at the wrong moment, Carter abruptly smothering Jenny with the pillow, the shocking twist on the old car-in-the-swamp Psycho moment, Jenny's sudden appearance on the baby monitor, Margot headbutting Dr Waldheim. All of these are beautifully, lovingly stylised, but the whole movie is just full of fantastic sequences, culminating in the terrific showdown at the motel. It also has a completely outstanding four-minute shot in the middle walking through the cop-shop, where Sternhagen ploughs through a ton of back-story, hits about a thousand marks (including some intentionally wrong ones) and emotes like there's no tomorrow. If ever you hear some phony-baloney actor type spouting off about have to struggle to find their character, show them this scene - Sternhagen is wild, funny, gripping, irascible, scared, intriguing and intense, all at the same time. Better yet, Lithgow is equally sensational, playing five characters with terrific abandon, weedy one moment, terrifying the next. Okay, so DePalma may have trodden this ground before (Sisters, Dressed To Kill, Body Double), but nobody does these crazy, sexy, twisty-turny thrillers as well as he does, and the cinematic power of these incredible set-pieces is just astonishing. Here's a movie where not a moment is wasted, where every shot is both artfully composed and intrinsically important, where every nuance the actors can provide contributes to the mood and the shocks. It's simply fantastic from start to finish. With a terrific score by Pino Donaggio (the music makes me scream every time) and fabulous photography throughout from Stephen H. Burum, this is a masterclass is technical filmmaking. Produce by Gale Anne Hurd (of Terminator fame) and brilliantly written and directed by DePalma, this is a great, gleeful, creepy, exciting, shocking, fantastically well-executed thriller.