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Stepmom

Stepmom

Drama · Romance · Comedy · 1998

Jackie is a divorced mother of two. Isabel is the career minded girlfriend of Jackie’s ex-husband Luke, forced into the role of unwelcome stepmother to their children. But when Jackie discovers she is ill, both women realise they must put aside their differences to find a common ground and celebrate life to the fullest, while they have the chance.

Movie details

Stepmom

“Be there for the joy. Be there for the tears. Be there for each other.”

1998 Drama · Romance · Comedy 2h 5m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Jackie is a divorced mother of two. Isabel is the career minded girlfriend of Jackie’s ex-husband Luke, forced into the role of unwelcome stepmother to their children. But when Jackie discovers she is ill, both women realise they must put aside their differences to find a common ground and celebrate life to the fullest, while they have the chance.

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 Stepmom?

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

Chris Columbus

Written by

Gigi Levangie · Steven Rogers · Jessie Nelson · Ronald Bass

Julia Roberts

Julia Roberts

Isabel Kelly

Susan Sarandon

Susan Sarandon

Jackie Harrison

Ed Harris

Ed Harris

Luke Harrison

Jena Malone

Jena Malone

Anna Harrison

Liam Aiken

Liam Aiken

Ben Harrison

Lynn Whitfield

Lynn Whitfield

Dr. P. Sweikert

Darrell Larson

Darrell Larson

Duncan Samuels

Court is in session

Put Stepmom on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.