Washington Post

If emotional catharsis is what you seek, Stepmom delivers the goods.

A review by Rita Kempley for Washington Post around 1998-12-25

San Francisco Chronicle

A film that's sad and poignant but not without humorous moments.

A review for San Francisco Chronicle around 1998-12-25

San Francisco Examiner

About as warm, pleasing and inviting as a film about divorce, infidelity and terminal cancer can be.

A review by G. Allen Johnson for San Francisco Examiner around 1998-12-25

The New York Times

To its credit, the film doesn't sugarcoat its women too monstrously, and it lets real conflicts and opinions occasionally creep in.

A review by Elvis Mitchell for The New York Times around 1998-12-25

Variety

Everything about the film suggests that its makers consider it a deep, emotionally probing drama, but it's merely a soap opera with elevated production values and a sterling cast.

A review by Todd McCarthy for Variety around 1998-12-25

Los Angeles Times

It may be unfair to ask a film like this not to be shamelessly manipulative, but wouldn't it be nice if audiences could be trusted to feel things more or less on their own without layers of unnecessary hokum entering the picture?

A review by Kenneth Turan for Los Angeles Times around 1998-12-25

Washington Post

It's not without moments of wit and powerful emotion, but somehow Stepmom never feels either real enough to move us deeply or bubbly enough to make us forget our woes.

A review by Stephen Hunter for Washington Post around 1998-12-25

Chicago Tribune

Too loud, bright and shallow for its subject: a movie that pushes too many obvious buttons to build naturally to the big, heartbreaking climax it obviously wants.

A review by Michael Wilmington for Chicago Tribune around 1998-12-25

L.A. Weekly

Less a movie about stepfamilies than a PSA about how cancer makes everyone behave themselves at Christmas.

A review by F. X. Feeney for L.A. Weekly around 1998-12-25

Chicago Reader

In a lumbering way, this depressing feel-good drama about the impact of cancer on two children, their divorced parents, and the father's girlfriend offers some useful insights into how feelings of jealousy and betrayal can limit the potential of family relationships.

A review by Lisa Alspector for Chicago Reader around 1998-12-25

Empire

That this is a patchwork quilt of a screenplay (written by five credited writers) is apparent in its use of little bits of this and little bits of that. Did none of them notice, looking at the big picture, that it's unbelievable?

A review by Angie Errigo for Empire around 1998-12-25

Village Voice

Loathsome though Stepmom is, the eternally coltish Roberts is always a pleasure to watch and Sarandon's mordant wit occasionally comes to the fore.

A review by Amy Taubin for Village Voice around 1998-12-25

Austin Chronicle

These characters are too remote, too pretty, and too unrealistic to move us in any lasting way.

A review for Austin Chronicle around 1998-12-25

Chicago Sun-Times

The skill of the actors, who invest their characters with small touches of humanity, is useful in distracting us from the emotional manipulations, but it's like they're brightening separate rooms of a haunted house.

A review by Roger Ebert for Chicago Sun-Times around 1998-12-25

The New Yorker

Now the mush has taken over, and Columbus has slowed his pace in nervous deference to the solemnity of his plot (not to mention the opulence of his characters' lives).

A review by Anthony Lane for The New Yorker around 1998-12-25

Entertainment Weekly

Older and younger movie star snipe and glare at each other with little subtlety, and little chemistry either. The two characters appear to be skirmishing only because they're supposed to by convention.

A review for Entertainment Weekly around 1998-12-25

TV Guide Magazine

The most impressive thing about it is that the actors manage to sound so earnest while mouthing the most shameless cliches imaginable.

A review for TV Guide Magazine around 1998-12-25

ReelViews

This is the kind of tearjerker that will cause audience members to cry, but only because they paid hard-earned money to see it.

A review by James Berardinelli for ReelViews around 1998-12-25