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The Stepfather (1987)

R  |   |  Horror, Thriller  |  16 November 1987 (Denmark)
6.8
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Ratings: 6.8/10 from 8,497 users  
Reviews: 95 user | 84 critic

After murdering his entire family, a man remarries a widow with a teenage daughter in another town and prepares to do it all over again.

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Title: The Stepfather (1987)

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3 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Stephanie
...
Charles Lanyer ...
Dr. Bondurant
...
Jim Ogilvie
...
Al Brennan
Robyn Stevan ...
Karen
...
Paul Baker
Lindsay Bourne ...
Art Teacher
...
Mrs. Leitner
...
Annie Barnes
...
Lt. Jack Wall
Jackson Davies ...
Mr. Chesterton
Sandra Head ...
Receptionist
...
Dorothy Rinehard
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Storyline

A family-values man named Jerry Blake marries widows and divorcées with children in search of the perfect family. As soon as his new family members show signs of being human and not robots who will march unquestioningly to his tune, his dreams of domestic bliss begin to crumble, and he kills them. Then he alters his appearance, assumes a new identity, and skips to another town to begin the deadly ritual all over again. He marries Susan Maine, who sees him as the ideal surrogate father for her teenage daughter Stephanie, and he is soon up to his old tricks when she proves to be too much of a troublesome teen to handle. Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

He wanted a perfect family in a perfect town. But they couldn't measure up.. neither could the others. See more »

Genres:

Horror | Thriller

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

16 November 1987 (Denmark)  »

Also Known As:

Stepfather I  »

Box Office

Gross:

$2,488,740 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Director Joseph Ruben originally wanted Jerry Blake to whistle the Barbra Streisand song "The Way We Were," but the rights to the song proved to be too expensive. See more »

Goofs

When Jerry Blake gets the mail out of the letterbox, he finds a yellow envelope for Stephanie, he notices that it came from the Seattle Examiner. Looking worried, he opens the envelope to see his own photo in it. He starts to panic. Then Stephanie arrives home, and asks for her mail. He gives her a copy of Cosmopolitan, and goes inside the house. Later, he goes to a photo shop, and replaces his own photo with another man in a family photo. The man is smiling in the photo Jerry is about to put back in the yellow envelope. In a later scene, Stephanie and her friend Karen are in her room, with the photo of the family man photo Jerry replaced. The man in the photo is not smiling, as he was in the first photo we see of him. See more »

Quotes

Jerry Blake: Buckle up for safety!
See more »

Connections

Followed by Stepfather II (1989) See more »

Soundtracks

Sleeping Beauty
(1985)
Performed by The Divinyls (as Divinyls)
Music and Lyrics by Christina Amphlett (as C. Amphlett) and Mark McEntee (as M. McEntee)
Published by Astute Lullaby Kings/Rare Blue Music, Inc. (ASCAP)
Courtesy of Chrysalis Records, Inc.
See more »

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User Reviews

 
Terry O'Quinn makes his mark
25 June 2006 | by (Rain City, Pacific Northwest) – See all my reviews

This is one of the best thrillers to emerge from the 1980s. It has assured direction from Joseph Reuben. An excellent script by Donald E. Westlake.And an absolutely mesmerizing performance from Terry O'Quinn, who invests his character with enough repressed fury to make most screen psychos look like Mr Rogers.

The film starts out with a real sense of style as O'Quinn washes his bloody hands in a bathroom sink then proceeds to alter his appearance drastically before walking downstairs to his murdered family; its a startling and creepy beginning and the rest of the film is as stylish and well done. I think its biggest strength is the well-developed psychopathology of Terry O'Quinn's character. His behavior actually makes sense in terms of his madness. This is a refreshing change of pace from most films of this type, where the killers have zero motivation and are just plot-devices.


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