Remember the chilling 1992 thriller ‘The Hand That Rocks the Cradle,’ where Rebecca De Mornay transformed a seemingly perfect nanny into a terrifying menace? Director Michelle Garza Cervera attempts a modern retelling, but her updated version feels oddly outmoded. This time, Maika Monroe takes on the role of Polly, a nanny whose deep-seated financial struggles drive her to target a vulnerable family once more.
Caitlin, played with commendable effort by Mary Elizabeth Winstead, finds herself drawn to Polly, perceiving her as a genuine individual rather than just another affluent suburban mother. Their paths cross at a Los Angeles organic co-op, where Caitlin learns of Polly’s housing struggles. A seemingly innocent conversation about family pasta night, and Polly’s subtle correction to Caitlin’s husband Miguel’s (Raúl Castillo) pesto choice, subtly steers Polly towards securing the coveted nanny position.
Where Rebecca De Mornay delivered a truly terrifying performance as a woman consumed by grief and vengeance, Maika Monroe’s portrayal of Polly is disappointingly lackluster. She drifts through scenes with the sullen energy of a disaffected teenager, delivering lines that are meant to be seductive but often come across as unintentionally comical. Given the film’s tropes, it’s hard to ignore the suggestive name ‘Polly,’ which seems to hint at a clumsy attempt to foreshadow her eventual entanglement with both parents.
Regrettably, the film handles themes of queer desire with a regressive approach that feels painfully stuck in the past. It implies that Caitlin’s lesbian inclinations were suppressed until Polly’s arrival, making her advances irresistible. A plot point involving a used tampon serves as a clunky and sensationalist ‘clue,’ ultimately highlighting how this remake overshoots any chance at nuance, good taste, or even a hint of enjoyable camp.
The Hand That Rocks the Cradle
Rated R for gratuitous gore, sexual content, drug use, and strong language. Running time: 1 hour 45 minutes. Available for streaming.