The Stepfather is a 2009 American psychological thriller film and a remake of the 1987 film of the same name. The film was directed by Nelson McCormick[2] and stars Dylan Walsh, Sela Ward, Penn Badgley, Amber Heard and Jon Tenney. It is loosely based on the crimes of mass murderer John List. It was released on October 16, 2009, receiving negative reviews from critics and grossing $31 million against its $20 million budget.
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Terry O'Quinn, who portrayed the stepfather in the 1987 original and its 1989 sequel, was approached by director Nelson McCormick to appear in the remake in a cameo role, but according to producer Mark Morgan, O'Quinn turned down the offer.[3] Filming was completed on April 15, 2008.[4]
David Harris (Dylan Walsh) is the stepfather from hell. He kills his stepkids and new wife. It's not even be his first kills, and each time, he gets a new identity. His next target is Susan Harding (Sela Ward) and her kids. Six months later, her oldest son Michael (Penn Badgley) returns home after military school to find David living with the family. Michael's longtime girlfriend is Kelly Porter (Amber Heard), and he doesn't get along with his father Jay (Jon Tenney). David gets a job at Susan's friend Jackie Kerns (Paige Turco)'s realty company. Things work relatively well at first. When an elderly neighbor notices the resemblance between David and a police wanted sketch, David starts killing once again.This is a relatively professionally made B-movie. Dylan Walsh does a good creepy guy while still has that leading man look. Sela Ward is protesting too much at all the evidence. These are cookie cutter characters and not really that well thought out. Penn Badgley is not the most likable actor. And for some reason, Amber Heard is always wearing a bikini. I'm not complaining but it becomes very noticeable. In the end, this movie lacks something compelling to interest me. There is no mystery since the stepfather is shown as a serial killer right away. The movie is mapped out right from the start. The family isn't likable enough to maintain rooting interest. This is professionally made but not much more than that.
After killing the whole family in Salt Lake City, the psychopath David Harris (Dylan Walsh) moves to Portland where he approaches to the divorced Susan Harding (Sela Ward) with her son Sean (Braeden Lemasters) and her daughter Beth (Skyler Samuels) in a supermarket. Six months later, David is living with Susan in her suburban house and the couple is planning to get married. When her rebel son Michael (Penn Badgley) returns home from military school, David welcomes Michael and supports him to stay home. But sooner Michael observes that the past of David is absolutely unknown and he suspects that his stepfather might be the missing killer. But neither her girlfriend Kelly Porter (Amber Heard) nor his mother see anything wrong with the stranger. The 1987 "The Stepfather" is a classic B-thriller, with Terry "John Locke" O'Quinn very convincing in the role of the deranged psychopath. This poor remake is terrible, beginning with the cast of the weirdo Dylan Walsh in the lead role. The transposition of the story from the late 80's to 2009 is absurd since with the present means of communication, the identity of David Harris would never remain unknown with the facility to retrieve his social security number or use of the Internet and software like Photoshop to check his face without beard, especially considering that he is among the ten most wanted criminals in America. The exaggerated use of clichés and the conclusion are awful, and I would like to ask the writers who would survive to a stab in the neck with such piece of glass. My vote is four.Title (Brazil): "O Padrasto" ("The Stepfather")
More specialized strategies including guided imagery, hypnosis, and eye movement desensitization and reprocessing (EMDR) have been employed with survivors of childhood trauma. However, these are used most appropriately in trauma-centered intervention; they can be empowering to survivors by helping them learn to relax, self-soothe, and both express and manage feelings (Bisson 2005; Edmond et al. 2004; Harford 2010; Peace and Porter 2004; Solomon et al. 2009; Struwig and van Breda 2012). They do require specialized training and an understanding of the neurophysiological changes in the brain that have been found to result from childhood trauma (Delima and Vimpani 2011; Harford 2010). It is critical to note that the worker should never use any techniques, particularly those that require this more advanced knowledge, without appropriate training (Thayer and Lynn 2006; van Minnen et al. 2010).
Rodney Allen Probst, 56, passed away on October 19, 2022. He was born December 19, 1965 in New Port Beach, CA to Charles Henry Probst and Myrna Faye Bige. He was raised in Ontario by his mother and stepfather, Sonny Gardner.
Rodney is survived by his wife, Cathy Probst; his daughters: Nichole (Luther Bow III) Probst and Kimberly Probst; grandchildren: Makahi and Azalea; his mother, Myrna Garner; siblings: Charles (Debbie) Probst, Teresa (Paul) Probst-Savoy, and Vikki (Dave) Valdez; his mother-in-law, Martha Sweet; and sister-in-law, Danielle Zappa; as well as many nephews, nieces, and cousins. He is preceded in death by his stepfather, Sonny Gardner, and his father-in-law, Daniel Sweet.
As the timeframe of this study progressed, major studios began to scale down or phase out the specialty units that often handled horror films. This process, which culminated in 2009, entailed a slight dip in the production queues of mainstream horror films and, therefore, resulted in a reduction of horror films reaching the top 100 in the North American box office (see table 2). The decline in output would be more noticeable were it not for the sudden arrival of Blumhouse Productions in 2007, the production company behind Paranormal Activity (2007) and the company that accounts for just under 18 per cent of the films in our database after signing a first-look deal with Universal (more on this below).
Supernatural horror films strongly dominate our dataset, both across the time frame and in each individual year. This diverse category includes horror films about such phenomena as ghosts (The Forest, 2016), haunted houses (Haunting in Connecticut, 2009), demons (Sinister, 2012), psychokinesis (Carrie, 2013), and possession (The Last Exorcism, 2010). Moreover, the release pattern for this subtype was relatively consistent across the course of the study. Nearly every year saw the release of between four and six supernatural horror films. Roughly 13 per cent were remakes and almost one-third (30.4 per cent) were sequels. Significantly, Blumhouse Productions produced over one-third of supernatural horror films (34.8 per cent).
Supernatural horror films are an attractive investment, costing roughly half as much as other horror films ($16.3 million) and returning only slightly less than average at the box office ($52.2 million). Close to half of these films (44.7 per cent) garnered a PG-13, which is higher, but not significantly so, than the rest of the data. Nearly one-third (30.4 per cent) were sequels with the Paranormal Activity series (2007-2015) representing the most notable franchise. The subtype includes a few remakes, including international remakes like The Eye (2008) and domestic remakes such as Poltergeist (2015). One of the major points of difference between the current crop of supernatural horror films and those of the past, is the lack of book adaptations.[15] The only supernatural horror book adaptations in the sample are The Rite (2011), loosely based on The Rite: The Making of a Modern Exorcist (2009), and a remake of Carrie.
The subtype was released inconsistently across the sample frame, with two-thirds playing in theaters prior to 2011. Close to one-third were remakes including The Stepfather (2009) and the aforementioned The Crazies. Three films in this subtype were literary adaptations, including 1408 (2007), Hannibal Rising (2007), and Shutter Island (2010). As of 2015 Blumhouse Productions has become active in thriller/psychological horror films with The Gift (2015) and The Visit (2015) and more recently with Split (2016) and Get Out (2017). 2ff7e9595c
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