The Stepfather
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.It's astonishing to think that the thrillers of the 1980s are now deemed insufficiently bland and glossy for mainstream audiences, but it's true. In May we had Obsessed, a (12A)-rated copy of Fatal Attraction, and now we have a plastic, production-line remake of 1987's The Stepfather – with no blood, no swearing, no sex, and no violence – that wouldn't be at home in an episode of Poirot. I'm not even sure why it deserves a 15 certificate, except for all the gratuitous shots of Amber Heard in an itsy-bitsy bikini.
Anyway, Dylan Walsh stars as a serial killer – this Stepfather remake excises any ambiguity on that matter at the start – who moves in with a gullible divorcée and her three children. Every time someone opens a door, looks through a window, or even turns around, Walsh is standing there, and a stab of music informs you that you're supposed to be scared. You won't be.
The Stepfather, Nelson McCormick, 101 mins, 15
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments