The Stepford Wives

Comedy / Horror / Science Fiction / Thriller

IMDb Rating 5.3 10 58


Downloaded times
June 15, 2020



Andrea Anders as Heather
Glenn Close as Adrienne Pargiter
720p.WEB 1080p.WEB
852.65 MB
English 2.0
23.976 fps
93 min
P/S N/A / N/A
1.71 GB
English 2.0
23.976 fps
93 min
P/S N/A / N/A

Movie Reviews

Reviewed by mswatsoninc 2 / 10 / 10

The Stepford Wives (2004)

I found out they were doing a remake of "The Stepford Wives" while surfing on, and when I saw the cast, I was intrigued at what an eclectic bunch they had assembled...Nicole Kidman, Glenn Close, Christopher Walken, Matthew Broderick, Bette Midler, John Lovitz (huh?), and Faith Hill (double, huh?). Given that Lovitz and Midler were in the mix, I could only assume that they were going to give it a comedic horror edge...interesting, I thought. This didn't make me rush to the theater and be the first one in line on opening day, mind you, but, I did find the prospect interesting. Well, this is proof positive that a great cast doesn't a wonderful movie make, and that classics should never be at best remade, and at the very least "tweaked" and remade. On a recent trip to San Francisco, and with a 5:00 am flight the next day, I thought the best way to spend my final evening is catching up on all those films I didn't see in the cinema. "The Stepford Wives" was available on the hotel movie list, so I thought, "Why not?" When the very first scene involved a "reality TV" exec (Kidman) launching proposed new shows, complete with a Meredith Viera cameo, I knew I was in for an odd night. Still undaunted, I continued watching. What followed was one of the most over-hyped, ludicrous, inconsistent, and down right stupid hour and forty five minutes I've ever wasted. It wasn't funny. It wasn't scary. It wasn't even "Mommie Dearest"-let's-treat-it-as-camp-bad. It wasn't necessary. Kidman creates one of the most boring and unimaginative characters in recent memory. It just leads me to believe that, Oscar win for "The Hours" or not, the jury is still out on her. Matthew Broderick is completely wasted as her mousey husband who packs the family up and moves them to Stepford. Bette Midler plays the bawdy feminist author with wisecracking husband (John Lovitz) in tow. I can only imagine that the writers thought that their appearance on the screen would be funny enough because NOTHING they said could make me crack a smile. A little bit of John Lovitz goes a long way. You had the token gay couple present, updating "Stepford" to the 21st century...Log Cabin paired with flaming funny...twenty years ago. If you blinked, you'd have missed Faith Hill. Given this was her big on screen debut, maybe we should just consider her lack of dialogue a gift. Christopher Walken must have an outstanding debt with the studio that produced this disaster...that's the only logical explanation that justifies his presence at all. And Glenn Close...talented and old reliable, Glenn Close...if there is a notable performance in this idea gone awry, it's hers. But, even her quirky performance turns embarrassing when this train wreck finally winds down. Which leads me to the biggest problem I have...its inconsistency. Are they robots, or are they women with a chip in their head? One simple way to avoid this problem is PICK ONE OR THE OTHER. Don't have a woman spit out money from her mouth like an ATM, or have Faith Hill "blow a fuse" with sparks flying out of her ears in one scene, then follow it with a simple "off" switch making them all normal again. Even with the largest suspension of disbelief available, this is an amateurish plot error that stands out like a Southern Baptist at a bar Mitzvah. It's almost as if they had them be normal at the end because test audiences didn't want to deal with the fact that Bette Midler wasn't going to have anymore screen time once she blew up. It was horrible, and an insult to even the most casual of moviegoers. I suppose that Hollywood has come to the conclusion that if the cast is big enough, you can feed them whatever trail of dog sick you like once the audience has bought their ticket and sat down. If this is the new trend, then do us all a favor...leave the classics alone. Fire your "writers" and hire a chimpanzee to write the least they work for bananas--meaning the price of admission might go down.

Reviewed by Sleepin_Dragon 5 / 10 / 10

Light hearted, better then the reviews have you believe.

I have read plenty of reviews where people are comparing this to 1975's, I don't think that's fair, as the interpretation of the novel is very different. The original film was very much a horror, this is a comedy with virtually no horror at all, but a definite vibe of political correctness. It is obviously too sweet and syrupy for many, but it does have good points. It's loaded with irony, it's not laugh out loud humour, it's more tongue in cheek, with some good humour, mainly at the expense of little men. I liked the performances, Glenn Close and Bette Midler especially. It wasn't Kidman's finest hour, although she wasn't bad, just didn't get the best material to work with. On the debit side, Matthew Broderick doesn't exactly shine, but worst of all is the lack of any horror vibe, it doesn't really have any suspenseful moments of any note. It's a nice vanilla comedy, those looking for horror must avoid. The original movie is way better. 6/10

Reviewed by nycritic 5 / 10 / 10

Good, Semi-comic Setup which Makes an Awful Left-turn.

The fact that the book actually has a comic undertone indicates that even when the feminism of the story has dated badly, it could be done quite well as a wicked, even mean-spirited black comedy of sorts. As a matter of fact, the great opening montage with its Danny Elfman-like music and portraits of women in the 50s suggests this is exactly what it is aiming for: skewering American complacency, Ozzie and Harriet, and the notion of the Perfect Wife. For the first hour, we're swiftly introduced to Joanna Eberhart (Nicole Kidman, channeling Faye Dunaway from NETWORK and brilliant at the moment she gets canned from her network for having gone too far with her reality shows) and Walter Kresby (Matthew Broderick, emasculated but not as mean as the novel's version), Bobbie and David Markowitz (Bette Midler, her usual loud self and true to the novel's depiction of the character and Jon Lovitz, also emasculated, a little underwritten), and a gay couple, Roger Bannister (Roger Bart, flamboyant and catty, almost walking away with the movie) and Jerry Harmon (David Marshall Grant, appropriately subdued). We also get to meet the Stepford residents, of which Claire Wellington (Glenn Close) stands out as she maniacally tosses around her 1950s uber-femininity as if her life depends on it and nearly comes off as a drag queen. Claire is married to Mike Wellington (Christopher Walken, playing himself as usual). Other residents include Faith Hill in a small but funny part as a Stepford wife who seems to malfunction quite a bit. This quasi black comedy of manners works well for its setup. Until the 60 minute mark. It's then that everything that made the novel work falls apart. Logic goes out the window, the plot supposedly becomes a mystery, and then magically there's a twist at the climactic moment which is only there to please a crowd of people who would not accept the original, ironic ending and one whom no one would have seen coming. When you cop out so openly as this movie does (you can actually feel the exact moment when the story, so far good, punches out and goes into autopilot) you're insulting the public's intelligence. And that's not a good thing to do. It just indicates a high level of laziness usually reserved for cheap exploitation movies or dumbed-down franchise sequels, not for something as high-profile as this.

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