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Solid work from Julia Roberts and Susan Sarandon isn't enough to save Stepmom from a story whose manipulations dilute the effectiveness of a potentially affecting drama. Read critic reviews
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Stepmom: Official Clip - Ain't No Mountain High Enough
Stepmom: Official Clip - Isabel's Plan Works
Stepmom: Official Clip - You Have Their Future
Stepmom: Official Clip - Are You Dying?
Stepmom: Official Clip - Will You Marry Me?
Stepmom: Official Clip - The Worst Day Until Now
Stepmom: Official Clip - You Have Made My Life So Wonderful
Stepmom: Official Clip - Losing Ben
Stepmom: Official Clip - Underlying Hostility
Stepmom: Official Clip - Mommy's Sick
Three years after divorcing Jackie (Susan Sarandon), the mother of his children, Luke Harrison (Ed Harris) decides to take the next step with his significantly younger girlfriend, fashion photographer Isabel Kelly (Julia Roberts). But, when the flaky Kelly meets Harrison's children for the first time, their fierce allegiance to their mother is obvious. Try as she might, Kelly fails to endear herself to her young charges -- and to Jackie -- until a looming family crisis changes everything.
Patrick McCormick
Executive Producer
It's a lovely daydream, made lovelier by the fiercely maternal performance of Sarandon as a lioness protecting her cubs, and Julia Roberts as a mass of insecurity trying to measure up to impossible standards.
April 2, 2019 | Rating: 3/4 | Full Review…
Well, if unearned pathos is your cup of tea, drink up.
Under Chris Columbus' direction, they make a pretty but utterly misleading picture in which cheap sentiment is used to supply easy, false resolutions to agonizing issues.
Roberts holds her own with a very attractive performance, admittedly given that hers is the character who is likeable, good-humoured and too good to be true.
April 1, 2019 | Rating: 3/5 | Full Review…
The result is a cartoonish two-hour-plus soap opera of little distinction, played by actors who deserve better and should have known better.
April 1, 2019 | Rating: 2/4 | Full Review…
A disjointed hybrid of domestic comedy and mortal illness that might have been written by a support group of lobotomy survivors.
It earns its tears with great performances and good writing
January 22, 2021 | Rating: 7.5/10 | Full Review…
If you're going to make children say such terrible things, you should at least back it up with a movie about divorce and death that is sincere and penetrating. In other words, the type of film that Chris Columbus wouldn't touch with a ten-foot pole.
October 8, 2019 | Rating: 1/5 | Full Review…
Stepmom is a piece of formulaic Hollywood product that's barely redeemed by its three fine leads and top notch production values. It suffers in comparison to the similar, but far better, One True Thing.
April 2, 2019 | Rating: C | Full Review…
Were it not for the stellar acting of Sarandon (the most infectious weeper this side of Brenda Blethyn) and Julia Roberts (irresistible as ever) the whole predictable enterprise would be too mawkish for words.
Stepmom is highly effective filmmaking, eliciting its fair share of laughter and sobs, even though the least gullible moviegoers will be able to see all the melodramatic machinery cranking and groaning behind the curtains.
April 1, 2019 | Rating: 2.5/4 | Full Review…
Though Stepmom has its ups and downs, it shows Columbus as a director who has graduated to adulthood after his two Home Alone hits without losing sight of the struggles of children.
April 1, 2019 | Rating: 3/4 | Full Review…
Heartbreaking yet very heartwarming!
In this maudlin, melodramatic fantasy, we have five main characters: The stepmom (Julia Roberts), the mom (Susan Sarandon), the dad (Ed Harris), and two kids. Harris is a successful middle-aged lawyer who divorces his wife and is now living with much younger beauty with his two kids. The tension is palpable; between husband and ex-wife, between kids and girlfriend, and especially between ex-wife and girlfriend. When it comes to parenting, Roberts is highly inexperienced, so it's not easy for her to look after the kids when she is left to do so, and her job sometimes gets in the way. In addition to that, the kids don't like their step-mom. Sarandon, who played the dying mother, was so overbearing, demanding, petty and bitchy both before and after she was diagnosed with cancer so it is hard to feel any sympathy towards her. The events of the last third of the film are intended, I assume, to turn around our perception of these characters and somehow make them more endearing. Well, for me, it just didn't work. Although the acting was at least competent, the apparent moral of the story of absolute forgiveness under adversity was just not plausible.
My alltime favorite movie, can recite the lines!
Julia Roberts and Susan Sarandon were absolute great in this Movie. One of the Movie that leaves a tiny bit of it in your memories.
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Neil Cross
Andy Muschietti
Barbara Muschietti
Toma 78
De Milo Productions
Mist Entertainment
18 January 2013 (United States and Canada)
8 February 2013 (Spain)
The film follows two young girls abandoned in a forest cabin, fostered by an unknown entity that they fondly call "Mama", which eventually follows them to their new suburban home led by two adults after their uncle retrieves them.
It was produced by J. Miles Dale and co-writer Barbara Muschietti, with Guillermo del Toro serving as executive producer. The film was theatrically released in theaters on 18 January 2013, by Universal Pictures. Mama received generally positive reviews from critics, with many praising the performances and atmosphere, with criticism for plot and writing. The film was a box office success, grossing $146 million against a $15 million budget.[7]
Distraught after losing his fortune in the 2008 financial crisis, stockbroker Jeffrey Desange murders his colleagues and his estranged wife before taking his young daughters, 3-year-old Victoria and 1-year-old Lily, away from home. Driving dangerously fast on a snowy road, Jeffrey loses control; the car slides down the mountain and crashes in the woods, breaking Victoria's glasses. Surviving the collision, he takes the children into an abandoned cabin. Planning to kill his daughters and then himself, he prepares to shoot Victoria but is attacked and killed by a shadowy figure.
Five years later, a rescue party, sponsored by Jeffrey's identical twin brother Lucas, finds Victoria and Lily in the cabin, alive but in a feral state after years of isolation. The girls are put in a welfare clinic under the watch of Dr. Gerald Dreyfuss. They make reference to "Mama," a mysterious maternal protector figure. The girls are initially hostile to Lucas, but Victoria recognizes him after he gives her a pair of glasses and she can see properly. Dreyfuss agrees to support Lucas and his girlfriend Annabel's custody claim against the girls' maternal great-aunt, Jean Podolski, as long as Dreyfuss is allowed to monitor the girls' progress. Victoria acclimates quickly to domestic life while Lily retains much of her feral behavior.
Lucas is attacked by Mama and put into a coma, leaving Annabel to care for the girls alone. Though reluctant at first, she makes progress with Victoria, but Lily remains hostile. Alarmed by nightmares of a strange woman and Victoria's warning about Mama's jealousy, Annabel asks Dreyfuss to investigate further. Dreyfuss’s research brings to light the story of Edith Brennan, a mentally-ill asylum patient who died in the 1800s; he recovers a box from a government warehouse containing a baby's remains.
Annabel has a dream revealing Mama's past; when Edith Brennan (Mama) was sent to the asylum, her child was taken from her and given to nuns. She escaped the asylum, stabbed a nun, and took her baby back. Fleeing her pursuers, Edith jumped off a cliff, but before hitting the water below, she and the child made impact with a large branch. Edith drowned, but the child's body snagged on the branch and did not fall with her into the water. Annabel realizes that Mama still hasn't realized her child was caught on the tree, and doesn't understand why her baby wasn't in the water with her. Edith's troubled ghost searched the woods for her child for years until she discovered Victoria and Lily and took them as substitutes.
Lucas regains consciousness after a vision of his dead twin tells him to go to the cabin in order to save his daughters. Victoria's growing closeness to Annabel makes her less willing to play with Mama, unlike Lily. Dreyfuss visits the cabin and is killed by Mama. Annabel takes Dreyfuss’s case file on Mama, including the body of her baby. Annabel and the girls are attacked by a jealous Mama, who kills Aunt Jean and uses her body to spirit the children away. Annabel and Lucas find the children on the same cliff where Mama leaped with her infant to their deaths over a century earlier, preparing to re-enact the deadly fall with Victoria and Lily.
When Annabel offers Mama the remains of her infant, Mama recognizes her own child and her appearance briefly turns human. However, when Annabel and Lucas try to bring the girls to safety, Lily calls out for her, Mama reverts to her monstrous form and attempts to take the girls again. Annabel clings to Victoria, who asks to stay with Annabel instead of leaving with Mama, which Mama accepts. After a tearful farewell, Mama and Lily plummet off the cliff. Mama and Lily happily embrace before hitting the branch, turning into a shower of moths. Annabel and Lucas embrace Victoria, who notices a moth landing on her hand, indicating that Lily is still with her in spirit.
The film began production in Pinewood Toronto Studios on 3 October 2011. Production ended on 9 December 2011. Parts of the film were also shot in Quebec City, Quebec. Although the film was produced in Canada, it is set in Clifton Forge, Virginia. The film was initially scheduled for release in October 2012, but was later rescheduled for January[8] to avoid competing with Paranormal Activity 4. Its success at that later date has, among with other dump months horror films, convinced studios to start opening horror movies year-round.[9]
Mama received mixed reviews from critics. It holds a 64% approval rating on Rotten Tomatoes based on 165 reviews, with an average rating of 5.93/10. The website's critical consensus states: "If you're into old school scares over cheap gore, you'll be able to get over Mama's confusing script and contrived plot devices."[10] Metacritic gives the film a weighted average score of 57 out of 100, based on 35 critics, indicating "mixed or average reviews".[11]
Richard Roeper, writing for the Chicago Sun-Times, enjoyed the film, giving it three stars out of four and saying, "Movies like Mama are thrill rides. We go to be scared and then laugh, scared and then laugh, scared and then shocked. Of course, there's almost always a little plot left over for a sequel. It's a ride I'd take again."[12] Owen Gleiberman, reviewing for Entertainment Weekly, gave the movie a B and said, "Mama lifts almost every one of its fear-factor visuals from earlier films: the rotting black passageways that spread like mold over the walls (very Ringu meets Repulsion); the fire in her eyes; the crouched figures that skitter and pounce à la the infamous 'spider' outtake from the original Exorcist; the way that Mama, with her arms like smoky-shadowy bent tendrils, evokes both the monster from the Alien films and also, in a funny way, the crumpled-puppet gothic mischievousness of Tim Burton animation. Nothing in the movie is quite original, yet Muschietti, expanding his original short,[13] knows how to stage a rip-off with frightening verve. It helps to have an actress on hand as soulful as Jessica Chastain..."[14]
IGN editor Scott Corulla rated the film 7.3 out of 10 and wrote, "This is a fine first film for director Andrés Muschietti and, despite some missteps and disappointments, very well could be a harbinger of interesting things to come for the helmer."[15] The Huffington Post wrote, "With Del Toro's name up front, expect Mama to be the winter horror film of choice in 2013."[16] The Philadelphia Inquirer called the film an "effectively spooky ghost story", adding, "Mama is full of arty tropes – sepia-toned flashbacks, flickering lights, menacing murmurings. The atmosphere is positively spectral. And it's easy to see why del Toro is a champion: Like his Pan's Labyrinth, there's a fairy-tale aspect (the film even begins with the title card "Once upon a time..."), with children in jeopardy, a witchy monster, and edge-of-the-precipice confrontations."[17] Canyon News wrote, "The scares do indeed come a mile a minute and will unnerve even some of the toughest moviegoers."[18] Mick LaSalle of the Houston Chronicle wrote, "Director Andres Muschietti is cinematically literate – in one example he borrows a flashbulb effect from Hitchcock's Rear Window – and he has visual panache. Much of the movie is surprisingly beautiful."[19]
In the United States, the film earned $28,402,310 on its opening weekend, debuting at #1 and playing at 2,647 theaters.[20] As of 4 April 2013, it grossed $146,428,180 worldwide and is a commercial success.[3][21] Additionally, Jessica Chastain, for the second time in her career, claimed the top two spots of the box-office with her starring roles in Mama and Zero Dark Thirty.[22]
Best Supporting Young Actress in a Feature Film
Best Supporting Young Actress in a Feature Film
In February 2013, it was reported that a sequel was in the works.[29] In January 2016, Universal announced that duo Dennis Widmyer and Kevin Kölsch would rewrite and direct the sequel.[30] Chastain would not return for the sequel.[31] But no progress were reported for the sequel, as of 2021.
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Sex Mama Film 3gp