The Hand That Rocks the Cradle, now streaming on Hulu, is a modern reimagining of the 1992 thriller of the same name. Directed by Michelle Garza Cervera and written by Micah Bloomberg, the film stars Mary Elizabeth Winstead, Maika Monroe, Raúl Castillo, and Martin Starr. The story follow suburban couple Caitlin and Miguel Morales, who hire the seemingly sweet Polly to take care of their newborn baby. But Polly’s true motives have little to do with singing lullabies — much to the horror of the couple.

Mary Elizabeth Winstead and Maika Monroe—two of my favorite actresses—starring in the same movie? I was sold regardless of the film’s quality. From the title to the premise, I wasn’t exactly excited going in, and honestly, Disney knows when something belongs on one of its streaming platforms. Sure, the movie will likely draw attention thanks to the A-list names attached, but it doesn’t bring anything new to the table. It’s the kind of film you’ll forget almost immediately after watching.

The film’s structure and execution are highly predictable from beginning to end. I haven’t seen the original, so I can’t compare the two, but this version feels like a rehash of countless similar films—it brings nothing new to the table. The only real strengths here are the twist and the performances, which stand out as the film’s saving graces.

I’d like to think Mary Elizabeth Winstead and Maika Monroe are intentional with the projects they choose. Both are well-regarded as modern Scream Queens, so seeing them share the screen feels iconic in its own right. Maybe they even sought out the chance to work together, and this project simply aligned. While the film suffers from major flaws in both its script and pacing, their performances bring some genuine value. Even when the dialogue or character choices veer into cringe territory, they manage to elevate the material and make the most of what they’re given.

The film doesn’t offer much value across its 102-minute runtime. Its sluggish pacing makes it feel even longer than it is. At its core, it’s a familiar story: the antagonist gaslights the protagonist into believing they’re the problem, while the rest of the family sides with the wrong person. Then comes the third act—everything unravels, but it all happens in just a few rushed minutes. That leaves about 90 minutes of buildup where not much is happening, aside from the cast doing their best to elevate a weak script.

I don’t usually single out production design unless it truly stands out, but in this case, the style of the house adds depth and helps reinforce the twist. And to the film’s credit, the twist is solid—it adds unexpected layers to the characters and makes their relationships more complex. While the two leads are clearly connected, there’s a stark contrast between them that becomes one of the film’s more compelling elements.

It’s unfortunate that a cast this talented was given such a weak script to work with. Had it been anyone else in these roles, I probably would’ve turned the film off. The dialogue is especially rough—these characters don’t speak like real people, and even the final lines make little sense. The film tries to build tension, but the writing never gives it a real chance. The script clearly needed more time and refinement before reaching production.

I haven’t seen the original, so I can’t compare the two, nor do I feel compelled to after watching this. It’s been marketed as a “modern reimagining,” but aside from the house, there’s nothing particularly modern about it. The film shies away from taking any real creative risks. The conflicts often feel cartoonish, and the third act, which should’ve delivered something bold or unexpected, ends up falling into the same tired patterns we’ve seen countless times before. It’s just another copy-and-paste climax that adds nothing new to the genre.

Overall, if you’re just looking to throw on something new this Halloween season, The Hand That Rocks the Cradle isn’t the worst option—but there are definitely better choices out there. Scream Queens Mary Elizabeth Winstead and Maika Monroe do their best with what they’re given, and the twist does add a bit of intrigue. Unfortunately, those few strengths aren’t enough to outweigh the film’s sluggish pacing, predictable plot, and overused clichés.

VERDICT: 2/5 – Bad