Elewis1195 MTTM is a fun, silly, cutsie Momedy that hasn't aged that well.Momedy - Mafia Comedy? No? OK, moving on.I think this is an underrated movie that deserves better than it's 6.1 rating. It was a well received when it came out, if a little lite. The story has some realness to it due to some solid acting by Michelle pfeiffer who comes across as thought but vulnerable and really wanting out. Even after she loses her husband she still feels "MTTM" and she can't get away, taking the biggest dump of an apt she can find and getting her son in public school, there is something heart-felt and honest about her that actually works.Everyone else plays their roles light and the movie moves quickly. The ending is a bit too predictable but the first hour works well. It deserves a better rating than it has, even if it's a bit dated.

edwagreen Whatever happened to Matthew Modine and Mercedes Ruehl? They were excellent here.This is a very funny film regarding the underworld. Michelle Pfeiffer is the girl who married a mafia man, played briefly by Alec Baldwin. Baldwin takes a bullet from crime boss, Tony Russo, played with extreme relish by Dean Stockwell. Stockwell merited a best supporting actor Oscar nomination for his wonderful portrayal. Russo kills Frankie (Baldwin) and then comes on to his widow. (Michelle Pfeiffer) She is ethical in that she wanted to lead a better life than living among the mobsters with their vicious wives. As Stockwell's insanely jealous wife, Mercedes Ruehl carries the day here.Matt Modine is the FBI agent who falls for Angie (Pfeiffer) and she soon is coerced by the FBI to work for them in nabbing Russo.This is basically another funny gangster film and it succeeds.

MisterWhiplash A movie sometimes, actually, most of the time, needs a nudge in the right casting direction. For Married to the Mob, we have Michelle Pfeiffer and Dean Stockwell in two big roles, and others for Matthew Modine and Mercedes Ruehl to sink their teeth into, too. Each actor takes over the role in his or her own way, and makes these characters into well-rounded people. The key for Jonathan Demme is this: people. They're not simply cartoon figures in a farce, but like in a good ol' screwball comedy from the days of Cary Grant, we got a premise and story that begs for actors who are so smart that they can get playing dumb, or just off-kilter or a little deranged. When we see Pfeiffer here, we believe that she's at a crossroads in her life, and she doesn't play it for laughs. Instead, she lets others around her go more over the top. In another story, she would be just as believable as an uncertain widow with a past she'd rather forget.And yes, Dean Stockwell is here in another gob-smackingly good acting gig (he even got an unlikely supporting actor nod for it). There's something about the guy that is just a little creepy, not really his fault, per-say, except that it's something in his eyes, his mannerisms, the way he'll glance at a character he doesn't trust or has something really to say to. He did this perfectly in his one scene in Blue Velvet, and to a more restrained extent in Tucker The Man & His Dream. Here, however, he goes to town as a mob-boss caricature, but he also doesn't do ALL of the heavy lifting. He is still subtle compared to Ruehl's turn as Russo's wife, who has insane jealousy (and rightfully so, perhaps, if not so far as she goes), and is so over the top that she does her best to chew scenery every which way she can.So then, with a good premise, and some fine supporting actors (Alec Baldwin has a few decent moments too), what's the problem? I think, perhaps, Demme wasn't always sure how to take the comedy where it needed to go. The script has the characters playing up behavior, which works well when, for example, Modine's "Mike Smith" is caught in a rock and a hard place in going out on a date with Angela. But other set-pieces sort of fall flat, and the ending is unsatisfying (especially irritating is Demme's decision to put in deleted clips from the film in the end credits, his way of doing 'outtakes'). And some of the dialog is over-cooked, making the actors strain to make it credible consistently.But Married to the Mob is fun within a certain frame of mind. It plays up some clichés like it's going out of style (which is sort of did) and leaves out others, and you may enjoy seeing the actors enjoying themselves in the scenes. It's a lighthearted affair, with touches of appropriate mob violence, and David Byrne of the Talking Heads doing the music!

Jackson Booth-Millard From director Jonathan Demme (The Silence of the Lambs, Philadelphia), this thriller comedy may not have had much for me to laugh at, but it was a good film none the less. Basically Angela De Marco (Golden Globe nominated Michelle Pfieffer) is unhappily married to high Mafia member Frank 'The Cucumber' De Marco (Alec Baldwin), and it is when he is killed that she wants to break free from the Mafia world entirely and start a new life. But Frank's boss, Tony 'The Tiger' Russo (Oscar nominated Dean Stockwell) manages to find and court her, so the FBI begins surveillance on her, thinking she is his mistress. She forms a close relationship with "neighbour" Mike Downey (Matthew Modine), who is actually an undercover FBI agent, it is just a question of can she get away from the lifestyle she has lived in for so long. Also starring The Fisher King's Mercedes Ruehl as Connie Russo, Trey Wilson as FBI Field/Regional Director Franklin, Joan Cusack as Rose Boyle, Ellen Foley as Theresa, Eraser's Oliver Platt as Ed Benitez, Anthony J. Nici as Joey De Marco, Charles Napier as Ray - Angela's Hairdresser and Mars Attacks! star O-Lan Jones as Phyllis. There are some good violent moments, the jokes aren't very noticeable, and the performances by Pfieffer, Modine and Stockwell are very good. Good!