IR Film Review: THE HAND THAT ROCKS THE CRADLE [20th Century Studios/Hulu]
The new imagining of "The Hand That Rocks The Cradle" is built upon a much different killer construct but is more apt with the current climate in how it presents its characters and how it plays. The original created a different psychological intent while the new version uses both concepts of sexuality and jealousy while also keeping a certain angle of the original intact. Maika Munroe, who has been doing well on the indie film circuit since "It Follows" but recently broke through more with "Longlegs" co-starring Nicolas Cage plays the antagonist for the most part here. Her approach though a little bit rough makes sense in terms of what she went through growing up. Now granted when something happens halfway through the film, she ends up in a certain place which she wouldn't go to unless there was another reason to go back.
Monroe as Polly comes into the life of Caitlyn (Mary Elizabeth Winstead) just before she gives birth. Winstead knows these kinds of characters but it is interesting seeing her progress in a certain way to the other side of the coin while still keeping that indie edge you can see in the back of her eyes intact. Caitlyn isn't perfect but you see her reaction and her temptation which Polly puts to the test on certain occasions. Caitlyn's friends, especially Martin Starr (who has been seen recently as "Bodhi" on "Tulsa King") show a certain protection even though you see a hesitance as to her trying to live the quiet life with husband Michael (Raul Castillo). Granted this is a thriller and Polly's moves do seem in certain moments a bit careless and transparent...but also the characters reacting to it seems delayed. This is more a face off between the two women and it does play that out.
Of course the "Rocks The Cradle" is a part of it since initially Polly is brought in as the nanny for both Caitlyn's toddler daughter and 10-11 year old daughter. The interesting thing is Polly placing thoughts in the older girl's head which reflects in a certain way to what happened to her but removed. Granted the eventual resolution which shows the older daughter Emma (Mileiah Vega) witnessing a certain kind of aftermath is not needed considering what happens. The coda is supposed to lay the groundwork of the trauma that belies such a story as this on her. Both women are victims and yet both are catalysts and yet not the origin of their own fate. In that way, this new "The Hand That Rocks the Cradle" does differ from its predecessor with an almost "Single White Female" vibe...and yet it still, despite some good performances, can't escape its soapy nature. B-
By Tim Wassberg
