It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

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.

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.

A beautiful mafia widow; a lecherous mob boss; his hot-tempered Italian wife; and an FBI whiz kid: ad them all together with a soundtrack by David Byrne and you have another hip-to-distraction romantic comedy from director Jonathan Demme. The pace is swift; the characters are colorful; and the film benefits from a winning performance by Michelle Pfeiffer as the reluctant moll who wants to go straight. But underneath the cosmetic gloss are too many cracks (if not quite holes) in the plot, and at least one serious flaw: the casting of boyish Matthew Modine as a romantic leading man. Demme is, as usual, adept at juggling offhand humor with incidental violence, but the story moves in fits and starts, although there's a clue to suggest the script itself isn't entirely to blame: over the closing credits are tantalizing glimpses of outtakes which might have filled in the narrative blanks.

The only problem with Married to the Mob is that it is not funny. It dresses up exactly like a romantic comedy, but almost nothing that happens is funny. But if you can look at it as a film where almost nothing funny happens, then you'll have a really good time. It's a glitzy mob film, too, as per the title. Extremely glitzy. But the director, Jonathan Demme, is one of the few prevailing cult directors who fully and completely embraced the 1980s in his work from that decade rather than understandably pretending it was still the 1970s.The opening credits combine 1980s animation, Italian-Americanism and mise-en-scene lathered on top of each other at once. From there, despite 1980sness, it feels about right. The lighting by Demme's frequent cinematographer Tak Fujimoto and jukebox soundtrack rife with widely varying pop and alternative jams are gaudy and that is indeed controlled and nuanced as part of the atmosphere. Demme is good at colorful instant characterizations in his visual and sometimes seemingly impetuous composition of a fun mix of styles, a plot that could've gone any which way, where a smooth FBI agent, played by a very bland Matthew Modine, trying to infiltrate a mafia family, sees a chance when a gun moll, played with come-hither allure by Michelle Pfeiffer, tries to leave the criminal lifestyle after her trigger-man husband, in just what you would hope for in an Alec Baldwin performance, is wacked.The way it goes works for awhile, because Demme seems to have a firm hand on the wheel. He knows the significance of showing us the very subjective and relatable life-at-home scenes with Pfeiffer, as well as her cares and longings as a morally conflicted mom, although her relationship with son Joey is taken a bit for granted. What mobster's son is listening to party-pooper mom when dad's boss, played with Dean Stockwell's trademark naturalness and by far the scene-stealing stand-out of the cast, is giving him such awesome gifts? On the whole though, Demme's lathered-on stylizations are easily viewed as a novel take on a fun crime thriller tale.Ultimately, though, we find we've been going the wrong way, because inevitably, Modine and Pfeiffer have to fall in love. That's not inherently bad, and every here and there it actually feels bearable, but as a romantic subplot, it is not handled interestingly, or well, hardly at all because it hopscotches across various sundry clichés, which fulfill the initial expectation of a cheesy 1980s date flick, and for that audience, I think it has just the right impact. But for someone who has found themselves genuinely interested in the story and the aesthetic approach, it is a let-down into state of tedium.So it's a decent movie with huge missteps at certain points, but as a date movie or a nostalgic piece for those who grew up in the '80s, perhaps saw a lot of date movies in the '80s, the entertainment value is not as likely to fluctuate, except for said deficit in true laughs. There maybe a few scoffs, and it's very broadly tongue-in-cheek, but I wouldn't leave the comedy aisle with the high hopes with which I'd have initially entered. Whatever the case anyway, there are additional joys in bit roles by great character actors who have by now begun to fade, like Nancy Travis, Joan Cusack and Oliver Platt.