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| Frame from The Hand that Rocks the Cradle (1992) |
This is the last installment of A Binge too far that tackles duos of film, as from next month I’ll be doing trilogies for the foreseeable future, so enjoy!
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The Hand that Rocks... (1992)
The Hand that Rocks the Cradle (1992)
After pregnant
woman Claire Bartel [Annabella Sciorra from Jungle
Fever (1991)] is molested by her gynecologist [John de Lancie, later in Crank: High Voltage (2009)] her husband
(Matt McCoy) rightfully decides to file a complaint that results in the story
going public and in turn forces the perverted doctor to commit suicide. What’s
more, when the deceased’s wife [Rebecca De Mornay, later in Identity (2003)] loses her baby, she is
sworn revenge to the couple she accuses for the death of her husband.
The film grabs
its title from a 1865 William Ross Wallace poem, but the screenplay by Amanda
Silver [Jurassic World (2015)] was
mostly inspired by a comic opera called The
Pirates of Penzance (1879), although you couldn’t tell, as it is just a
typical early-1990s thriller, even if a bit above average. Its mediocrity is
mostly the result of a flat direction by Curtis Hanson [L.A. Confidential (1997)] as all he does is conventional coverage
that is only occasionally salvaged by some good performances (including
Julianne Moore). Despite all that it grossed a stunning $140 million (unheard
for such a film, even during the subgenre’s heyday) on a modest $11.9 million
budget, while it also became a massive renter on home video.
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The Hand that Rocks... (2025)
The Hand that Rocks the Cradle (2025)
An upper class
couple [Mary Elizabeth Winstead from 10
Cloverfield Lane (2016) and Raul Castillo from Smile 2 (2024)] hire a nanny [the immensely beautiful, but also
eerie and menacing Maika Monroe from the masterful It Follows (2014)] for their kids, who on first sight is a
struggling and kind person, but maybe she is hiding something.
Although this
more of a Cape Fear (1991) remake
with gender and racial roles swapped (of course the male lead should be Mexican
and the female leads current or former lesbians), rather than a remake of the
same-titled film from 1992, it is still a very interesting psychological thriller
that grabs your attention and has you on an edgy feeling throughout its running
time. It is a nail-biting experience despite the by-the-numbers approach to
directing by Michelle Garza Cervera [Huesera
(2022)], but what surprised me was the cruel and realistic gore make-up effects
during the (few and far between, to be honest) acts of violence on screen.
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