The Hand that Rocks the Cradle (1992)

This really was a thrilling film. It was very well acted indeed and this contributed to the overall tone of foreboding and fear. The film was effective in generating a story and setting up an excellent finale. There wasn't much violence or killing but that is not the point of this film. It was meant to be a scary film for anyone with children or for anyone who can empathise with the situation of letting someone into your life so personally and that they have far more control over you than you would like to think. The problem with some parts was that the happy family felt unrealistic and forced but the writing and acting were incredible so that was soon forgotten in the heat of the moment.

There are some movies which are essentially 'made' by one star. The Hand That Rocks The Cradle is a prime casing point; Rebecca De Mornay, as the 'nanny from hell' "Peyton Flanders", is chilling, seductive, and simply stunning, as she manipulates her way through the Bartel household, as well as us, the audience.I think the the film is great for testing our allegiance to the family themselves; even though we constantly feel anxious for their safety, and are aligned as to the tragedies that befall them, for which we can only sit back and look on in horror, there's also an underlying morbid desire to see "Peyton" win, which is exemplified by De Mornay's bewitchingly sultry performance, and her unwavering determination to get revenge.As for the rest of the essentially B-list cast, there's winning performances all round, with special mention to Ernie Hudson as the family's intellectually disabled handyman, who displays great warmth and emotional depth to his role, and to the Bartel family (Annabella Sciorra, Matt McCoy, Madeline Zima) themselves; each actor delivering a compellingly real profoundness to their individual roles, which goes a long way in making them much more compassionate, and increasing our allegiance with them. Indeed, it's that allegiance to the family which helps in papering over any predictability or cheesiness in the film, as despite our initial morbid desire to see "Peyton" win, it's that sympathetic but not overtly sentimental view of the Bartels which means, in this movie at least, that the audience also naturally want the typical happy ending that we've come to expect from Hollywood.It's Hollywood's loss that they've never fully tapped into De Mornay's clear talent and charisma though! One hopes that her career will be revived in the future. She sure does make an impact here, and her performance etches itself into the memory.Going along at a good steady pace, which builds to an exciting climax, director Cliff Hanson (The River Edge, L.A Confidential, 8 Mile) has crafted yet another witty, thrilling, and inspired piece, which re-invents the whole 'never let strangers into your house' premise with real bite, so if it's a tense, unnerving, but very fun late-night thriller you're looking for, look no further!

The Hand That Rocks The Cradle has elements of While the Children Sleep (2007) and The Babysitter (1980). It's a mystery/horror with a lot going for it, decent acting, an intriguing story and the ending was amazing.Here's a plot, I'll try not to give away the details: Claire and Micheal are a happy couple expecting a baby (they have a daughter named Emma as well). Claire, during a gynecology appointment, is molested by the doctor, and after Claire reports him he kills himself. His wife decides to pretend to be a nanny to get at the family after Claire's baby is born, calling herself Peyton and slowly dismantling the whole family, from framing the very kind mentally challenged man working to build a fence in their yard to destroying the reputation of Claire's best friend, a real-estate agent named Marlene. The question is, how far will "Peyton" go to get her revenge, and who will survive? The Hand That Rocks The Cradle is a great movie to pass the time, but what I liked most was the ending SPOILERS!!! Peyton tries to kill Claire's two children but Solomon, the man who Peyton framed for supposedly molesting Emma even though he didn't, and he helps the two children escape, risking his own life to save them. It's an extremely memorable scene.Some of the better actors/actresses in this movie were Julianne Moore and Ernie Hudson and Annabella Sciorra. The soundtrack wasn't bad and if you have a spare hour and a half it's a great movie to check out! It does have the off one or two sappy Lifetime Movie-type moments but those can be overlooked.

I've only seen this movie once, and I remember just how good it was, one trademark scene, having Julianne Moore buy it in that glasshouse, where for some, you could be turned off for walking into one, ever again. The Hand That Rocks The Cradle (a great title) is another Fatal Attraction, Single White Female, etc, kind of film/thriller, but what's so good here, is the believable revenge scenario, that really follows through, with good planning in it's catalyst, and acting talent, De Mornay, our new revenge driven femme fatale, proves she can play bad, good. We can't help feel a bit sorry for her, in light of her very damaging tragedy, brought on by her lover's suicide. It was something, that came back to bite this late gynocologist, whatever, with his unlawful advances towards patient (Sciorra) who's character just happens to be asthmatic, but hey, it can happen top the best of us. Wait till you see who her gynocologist is (another familiar face, from another popular daytime soapie, who's always used in small roles. She was gonna report him to the police, so he took the easy way out. Now we have a new psycho nanny, under a smiling, loving facade of normalcy, that bellies a hate driven woman, determined to see Sciorra suffer, by taking what she has, because of what she herself, has been robbed of, which includes Sciorra's husband (Matt Mccoy, a very underrated actor). It was a surprise top see hi turn up in this. This whole retrieving angle, all makes sense, when you see it from our "flip a switch" character, Mornay, where we know, what her ultimate intention is, all too clearly. De Mornay, really has a a screw loose alright, and her character is fun to watch. She even gets physical with a little boy who's bullying Sciorra's little girl, and that dire and clear as crystal threat she gives to that retarded green keeper of Sciorra's (versatile Ernie Hudson) is dialogue I'll never forget. This is a solid driven thriller all the way. The movie sets out what it intends to do, it's intentions never clearer, though we really wonder what's playing around in the diabolical mind of De Mornay. But she's set a new score with her unforgettable and scary performance in a thriller, you must see at least once once. I would of seen this again, but this particular movie was actually copy protected. Them's the brakes.