the only problem with married to the mob is that it is not funny. it dresses up exactly like a romantic comedy and but almost nothing that happens is funny. but if you can look at it as a film where almost nothing funny happens and then you will have a really good time. it a glitzy mob film and too and as per the title. extremely glitzy. but the director and jonathan demme and 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 and italian americanism and mise en scene lathered on top of each other at once. from there and despite 1980sness and it feels about right. the lighting by demme 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 and a plot that could have gone any which way and where a smooth fbi agent and played by a very bland matthew modine and trying to infiltrate a mafia family and sees a chance when a gun moll and played with come hither allure by michelle pfeiffer and tries to leave the criminal lifestyle after her trigger man husband and in just what you would hope for in an alec baldwin performance and is wacked. the way it goes works for awhile and 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 and as well as her cares and longings as a morally conflicted mom and although her relationship with son joey is taken a bit for granted. what mobster son is listening to party pooper mom when dad boss and played with dean stockwell trademark naturalness and by far the scene stealing stand out of the cast and is giving him such awesome gifts. on the whole though and demme lathered on stylizations are easily viewed as a novel take on a fun crime thriller tale. ultimately and though and we find we have been going the wrong way and because inevitably and modine and pfeiffer have to fall in love. that not inherently bad and and every here and there it actually feels bearable and but as a romantic subplot and it is not handled interestingly and or well and hardly at all because it hopscotches across various sundry clichés and which fulfill the initial expectation of a cheesy 1980s date flick and and for that audience and i think it has just the right impact. but for someone who has found themselves genuinely interested in the story and the aesthetic approach and it is a let down into state of tedium. so it a decent movie with huge missteps at certain points and but as a date movie or a nostalgic piece for those who grew up in the 80s and perhaps saw a lot of date movies in the 80s and the entertainment value is not as likely to fluctuate and except for said deficit in true laughs. there maybe a few scoffs and and it very broadly tongue in cheek and but i do not leave the comedy aisle with the high hopes with which i would have initially entered. whatever the case anyway and there are additional joys in bit roles by great character actors who have by now begun to fade and like nancy travis and joan cusack and oliver platt. 
the only problem with married to the mob is that it is not funny. it dresses up exactly like a romantic comedy and but almost nothing that happens is funny. but if you can look at it as a film where almost nothing funny happens and then you will have a really good time. it a glitzy mob film and too and as per the title. extremely glitzy. but the director and jonathan demme and 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 and italian americanism and mise en scene lathered on top of each other at once. from there and despite 1980sness and it feels about right. the lighting by demme 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 and a plot that could have gone any which way and where a smooth fbi agent and played by a very bland matthew modine and trying to infiltrate a mafia family and sees a chance when a gun moll and played with come hither allure by michelle pfeiffer and tries to leave the criminal lifestyle after her trigger man husband and in just what you would hope for in an alec baldwin performance and is wacked. the way it goes works for awhile and 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 and as well as her cares and longings as a morally conflicted mom and although her relationship with son joey is taken a bit for granted. what mobster son is listening to party pooper mom when dad boss and played with dean stockwell trademark naturalness and by far the scene stealing stand out of the cast and is giving him such awesome gifts. on the whole though and demme lathered on stylizations are easily viewed as a novel take on a fun crime thriller tale. ultimately and though and we find we have been going the wrong way and because inevitably and modine and pfeiffer have to fall in love. that not inherently bad and and every here and there it actually feels bearable and but as a romantic subplot and it is not handled interestingly and or well and hardly at all because it hopscotches across various sundry clichés and which fulfill the initial expectation of a cheesy 1980s date flick and and for that audience and i think it has just the right impact. but for someone who has found themselves genuinely interested in the story and the aesthetic approach and it is a let down into state of tedium. so it a decent movie with huge missteps at certain points and but as a date movie or a nostalgic piece for those who grew up in the 80s and perhaps saw a lot of date movies in the 80s and the entertainment value is not as likely to fluctuate and except for said deficit in true laughs. there maybe a few scoffs and and it very broadly tongue in cheek and but i do not leave the comedy aisle with the high hopes with which i would have initially entered. whatever the case anyway and there are additional joys in bit roles by great character actors who have by now begun to fade and like nancy travis and joan cusack and oliver platt. ---------------------------------Answer Question Below----------------------------------

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