The Hand That Rocks the Cradle (1992)
Genre: Thriller
Duration: 110 minuten
Country:
United States
Directed by: Curtis Hanson
Stars: Annabella Sciorra, Rebecca De Mornay and Matt McCoy
IMDb score:
6,7 (54.715)
Releasedate: 10 January 1992
The Hand That Rocks the Cradle plot
"Trust is her weapon. Innocence her opportunity. Revenge her only desire."
A gynecologist commits suicide when he is accused of sexually assaulting his patients. His heavily pregnant wife loses her baby as a result of this situation. She wants revenge and goes to work for Claire, who had sued the doctor, under the name Peyton as a babysitter.
Actors and actresses
Claire Bartel
Mrs. Mott / Peyton Flanders
Michael Bartel
Solomon
Emma Bartel
Marlene Craven
Dr. Victor Mott
Marty Craven
Lawyer
Woman in Park
Reviews & comments
yeyo
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- 6358 messages
- 4629 votes
Tss, such a backstory: good for nothing. Bad for the mythical aura that surrounds the 'invader' and thus much more efficient when his/her motives remain unclear (see: Poison Ivy 
). Moreover, the motive in this case is too ridiculous for words. Anyway, I've been watching early '90s 'household in distress' thrillers a lot lately and found that The Hand That Rocks doesn't start enough with its setting. In films like these, the house where evil lurks must be upgraded into a full-fledged antagonist, a sort of idyllic prison whose bars are marked on the faces of the haunted characters. Anyway, here it is just a place that happens to be inhabited. What also doesn't help is the (mis)casting: Sciorra has a much too New York head (check those eyebrows) to be credible as a suburbia queen with a nose for gardening. That's what you'd expect at a shady subway stop in Brooklyn, not in a pearly white mansion. Matt McCoy (who ever that may be): first class lamzak. Even for the 'guiltless husband of the black widow's prey' category, he is extremely disinterested (there are five scenes where he ties hunted while wife is again proclaiming all kinds of ideas) and also disappointing: he responds to the advances of the evil temptress. Can't blame him of course, Rebecca De Mornay has almost the sex appeal of an alpine goat. Truly a film that makes you think afterwards: what a lot of shit was made in the nineties. Still, it's an era I deeply miss: Back then you could still get away with politically incorrect subplots, like a mentally retarded black who acts as a substitute for the barking family labrador who "senses the evil." 
Translated from Dutch · View original
Duke Nukem
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- 1813 messages
- 2005 votes
An above-average thriller with good acting and a strong portrayal of Rebecca De Mornay as the cold-blooded temptress and 'homebreaker'. Recommended! As far as I'm concerned, this film belongs in the same row as other strong thrillers from the 80s and 90s, such as Basic Instinct (from the same year), Fatal Attraction (1987), Presumed Innocent (1990) and Disclosure (1994).
Translated from Dutch · View original
Lovelyboy
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- 3954 messages
- 2956 votes
Oldie of whom it has been many years since I saw him and now mainly strikes me as fascinating and entertaining.
Especially in the first phase, the film seems to suffer from its 90s image in terms of style, music and structure. The so-called idyllic image with the harmless madman in the garden is rather uninteresting and there is no real tempo. There is also not much tension and it does not really come to the very last phase.
Yet all this changes with the appearance of Peyton. The whole is still not overflowing with tension, but what is noticeable afterwards is the ingenious way in which she creates situations, plays people against each other and subtly disrupts the family and takes control. Ingenious is the scene where she is fascinated by watching herself sabotaging the inhalers. The film can therefore be hung in its entirety on a great DeMornay who excites, and is both frightening and exciting. The perfect combination of an innocent look and cunning. You have to love this woman.
The Hand That Rocks The Cradle can therefore be called a fine film with a fine Hudson and Sciorra, and an almost unrecognizable Moore. More than to do for once, but as a whole not really to be described as a thriller, but as far as I'm concerned it can be described as a psychological thriller.
Translated from Dutch · View original
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