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The Hand That Rocks the Cradle

The Hand That Rocks the Cradle

Drama · Thriller · 1992

A suburban family chooses seemingly sweet Peyton Flanders as their newborn's nanny. Only much later does the infant's mother, Claire Bartel, realize Peyton's true intentions -- to destroy Claire and replace her in the family. The nail-biting suspense builds quickly in this chilling psychological thriller about deception and bitter revenge.

Movie details

The Hand That Rocks the Cradle

“Trust is her weapon. Innocence her opportunity. Revenge her only desire.”

1992 Drama · Thriller 1h 50m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

A suburban family chooses seemingly sweet Peyton Flanders as their newborn's nanny. Only much later does the infant's mother, Claire Bartel, realize Peyton's true intentions -- to destroy Claire and replace her in the family. The nail-biting suspense builds quickly in this chilling psychological thriller about deception and bitter revenge.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Hand That Rocks the Cradle?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Curtis Hanson

Written by

Amanda Silver

Annabella Sciorra

Annabella Sciorra

Claire Bartel

Rebecca De Mornay

Rebecca De Mornay

Mrs. Mott / Peyton Flanders

Matt McCoy

Matt McCoy

Michael Bartel

Ernie Hudson

Ernie Hudson

Solomon

Madeline Zima

Madeline Zima

Emma Bartel

Julianne Moore

Julianne Moore

Marlene Craven

John de Lancie

John de Lancie

Dr. Victor Mott

Court is in session

Put The Hand That Rocks the Cradle on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.