THE HAND THAT ROCKS THE CRADLE (2025) – Review

Did you think that the only movie remakes out this year were THE ROSES and THE TOXIC AVENGER (not counting the three live-action remakes of animated features)? Of course not, since the trailer for THE RUNNING MAN seems to be attached to nearly every movie at the multiplex. That one’s nearly three weeks away, so how about a “re-do” of a film that’s not quite as old as the Arnold classic? Now streaming is a new spin, truly earning the often noxious marketing phrase “re-imagining”, on a kinda’ campy thriller from 1992 (naw, it can’t be over 30 years away). So what has changed, and what remains for this take on THE HAND THAT ROCKS THE CRADLE?

For one thing, the 2025 “model” begins with a flashback, probably about 15 years ago, as a blonde pre-teen watches a two-story suburban home go up in flames (and we hear the screams of those trapped inside). Then we’re back in the present as very pregnant lawyer Caitlyn (Mary Elizabeth Winstead) is taking on a new pro bono client at a free legal advice center. Former child care worker Polly (Maika Monroe) is dealing with a shady landlord. Soon after their meeting, Caitlyn goes into labor, and gives birth to a baby girl, Josie. As the weeks progress, it becomes clear that Caitlyn has “too much on her plate” with the new addition, rebellious pre-teen daughter Emma (Mleiah Vega), and returning to her law firm. Hubby Miguel (Raul Castillo) implores her to hire some domestic help. Almost on cue, Caitlyn soon bumps into Polly. The two hit it off and the harried new mom gets the info and a solid reference for the ex-client (who lost her apartment). Polly is a welcome addition, attentive to Josie, and bonding with Emma. And then things go “sideways”. Everyone gets food poisoning (could Polly have spiked the main course). Then Polly breaks a big house role, giving Josie retail formula rather than Caitlyn’s breast milk. Eventually, Polly moves into the guest house next to the pool, but things don’t get back to normal. Are Caitlyn’s prescription meds (for a mental health condition) not working (another concern for Miguel), or did Polly tamper with them? Is it postpartum paranoia, or does the seemingly sweet Polly have a secret agenda?

Much like the original, this take really relies on of the power dynamic “tug-of-war” between the two main characters, and the film’s producers have cast two very interesting actors who have had great experience in the thriller genre (or genre films in general). The biggest emotional arc is given to Caitlyn, and Winstead expertly lets us see her growing mania after establishing the lawyer/mom as a “hands on” parent with a complex past. At just around the half-way point, Winstead takes her energy from stroll to trot to a furious, frantic gallop that pulls us along in her wake. This contrasts well with Monroe, perhaps best known for her lead in the indie horror gems IT FOLLOWS and LONGLEGS, who almost makes Polly a blank slate, her dead-eyed stare during confrontations with Winstead allow us to project all manner of sinister schemes onto her. However, we get to see a bit of her darkness at a dinner party when verbally chided by Caitlyn’s old best pal Stewart, played by the always engaging Martin Starr (forever Bill Haverchuck, class of 82′). He’s a sneering elite, who reveals a kind heart not only with Caitlyn (oops, don’t want to spoil). Castillo does his best with the underwritten role of the often thick hubby, who is either a witness or impediment to the long-awaited “throw-down”.

Taking the directorial reigns from the late, much-missed Curtis Hanson is Michelle Garza Cervera, in her second feature after many shorts and TV episodes. She keeps the pace steady, eschewing any flashy effects, save for the opening flashback. There’s a good use of LA locales, though Cervera is often a bit heavy-handed in contrasting the “haves and have-nots”. The often radical “re-imagining” is engineered by screenwriter Micah Bloomberg, who strips away many of the problematic elements (there’s no Solomon here in any form) of the 92′ story from Amanda Silver. And yes, many of the cheesy camp of the first is excised, but some interesting ideas are explored (Polly seems more into seducing Caitlyn than Miguel). Making first daughter Emma a few years older provides a chance to explore the often tumultuous clashes with mothers (another power struggle). Still, time hasn’t been kind to the subject manner since basic cable TV has been “strip-mining” the original film countless times over the years, with endless variations of the “wife/mother defending her happy home against the twisted interloper” (much as with the many clones of FATAL ATTRACTION). That’s a shame, since the two leads are such an interesting pairing, and are worthy of a more original tale than the still-familiar THE HAND THAT ROCKS THE CRADLE.

2 Out of 4

THE HAND THAT ROCKS THE CRADLE is now streaming exclusively on Hulu