Cathy Moriarty Movies

New York art dealer Arne Glimcher took his first crack at film directing with this florid, high-energy romance about two brothers who flee Cuba in the early 1950s to make it as musicians in the United States. Cynthia Cidre wrote the literate screenplay adapted from Oscar Hijuelos's Pulitzer Prize-winning novel The Mambo Kings Play Songs of Love. Cesar (Armand Assante) and Nestor Castillo (Antonio Banderas) are popular musicians on Havana's club circuit, but when they make enemies of the wrong people, they are forced to leave for New York City, the moody Nestor leaving behind his true love. In New York, the brothers work as meat-cutters during the day as Cesar tries to organize a band and make inroads into the lively New York music scene. Soon, as The Mambo Kings, they get club bookings and Cesar falls in love with a sharp-tongued cigarette girl, Lanna Lake (Cathy Moriarty), and Nestor with the beautiful Delores Fuentes (Maruschka Detmers), who wants to be a teacher. Cesar concentrates on singing and managing the band, while Nestor plays the trumpet and writes emotional songs of love. All seems to be going well until Cesar antagonizes the moneymen on the Latin nightclub circuit and they finds themselves playing bar mitzvahs. But after they're discovered by Desi Arnaz (Desi Arnaz Jr.), the group is prominently featured on I Love Lucy. Their popularity soars and they cut a successful album called "Mambo Kings Play Songs of Love." Cesar is glorying in his success, but Nestor is disappointed and longs to return to Cuba. ~ Paul Brenner, All Movie Guide

Penelope Ann Miller's delightful performance as the shy, part-time librarian Betty Lou Perkins is the saving grace of this comedy from Touchstone Pictures. Betty Lou is the neglected wife of small-town police detective Alex Perkins (Eric Thal). She soon feels even more neglected when Alex can't make their anniversary dinner because he has to investigate a brutal motel room slaying. Taking her dog for a walk, Betty Lou finds a gun by the river's edge that just happens to be the missing murder weapon in Alex's murder investigation. In order to get some attention, she announces that she was the one who committed the murder. Hauled behind bars, Betty Lou gets some quick assertiveness training from her cell-mate, hard-boiled prostitute Reba Bush (Cathy Moriarty). She also becomes an instant media celebrity, with crowds clamoring around her and television news reporters elevating her to legendary status. But Alex doesn't believe she committed the murder (she tells him the dead man was her lover) and continues investigating the crime. Her husband is not the only one who's suspicious -- the FBI wants to use her to lure crime lord Beaudeen (William Forsythe), who they suspect actually committed the murder, out into the open. It turns out the FBI is right; Beaudeen killed the motel room victim because he planned to blackmail him with an incriminating cassette. Beaudeen is convinced that Betty Lou has the tape and musters his forces to get it from her one way or another. ~ Paul Brenner, All Movie Guide

Arnold Schwarzenegger sheds his action image in Ivan Reitman's police comedy Kindergarten Cop, where he plays an undercover cop teaching a class of hyperactive six-year-olds. As the film begins, John Kimble (Schwarzenegger) and his partner Phoebe O'Hara (Pamela Reed) are in pursuit of notorious drug dealer Cullen Crisp (Richard Tyson) and his scabrous mother Eleanor (Carroll Baker). John learns Cullen is searching for his ex-wife and his little boy, and Kimble plans to nail them when they find the former wife, who is believed to have $3 million of Cullen's drug profits. John and Phoebe follow the trail to Astoria, Oregon, where they believe Cullen's son is attending kindergarten. Although the child and his mother have changed names, John hopes they can pick up some clues. By coincidence, Phoebe used to be a schoolteacher and the school board permits her teach the kindergarten class, but Phoebe gets food poisoning and John is forced to teach the six-year-old whippersnappers himself. Along with lighthearted gags with the kids and the pursuit of the drug dealers, John has time for a little romance when he falls in love with one of the teachers (Penelope Ann Miller), who ends up surprising him with more than love. ~ Paul Brenner, All Movie Guide

A stylish take on the woman in jeopardy and mad killer genres, White of the Eye poses the question, What would you do if you suspected your loving husband to be a serial killer? Arizonan Paul White (David Keith) is an expert at installing high-end stereo systems in the homes of wealthy citizens. He has been married to Joan (Cathy Moriarty) for ten years, having seduced her away from a violent criminal, Mike DeSantos (Alan Rosenberg). A series of brutal murders of well-to-do women has citizens of Paul and Joan's town on edge. When evidence at the scene of the second murder points to Paul, Joan tries to fend off the suspicions of police detective Charles Mendoza (Art J. Evans), even as she begins to see signs of violence in her husband that confirm the accusation. Director Donald Cammell, who co-wrote the script with his wife China, offers a fragmented narrative characterized by quick cutting; subjective, handheld camera work; and optical tricks that suggest the unraveling of Paul's mind. ~ Tom Wiener, All Movie Guide

Martin Scorsese's brutal character study incisively portrays the true rise and fall and redemption of middleweight boxer Jake La Motta, a violent man in and out of the ring who thrives on his ability (and desire) to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York, when Jake's career is on the rise. Despite pressure from the local mobsters, Jake trusts his brother Joey (Joe Pesci) to help him make it to a title bout against Sugar Ray Robinson the honest way; the Mob, however, will not cave in. Jake gets the title bout, and blonde teenage second wife Vickie (Cathy Moriarty), but success does nothing to exorcise his demons, even as he channels his rage into boxing. Alienating Vickie and Joey, and disastrously gaining weight, Jake has destroyed his personal and professional lives by the 1950s. After he hits bottom, however, Jake emerges with a gleam of self-awareness, as he sits rehearsing Marlon Brando's On the Waterfront speech in his dressing room mirror: "I coulda been a contender, I coulda been somebody." Working with a script adapted by Mardik Martin and Paul Schrader from La Motta's memoirs, Scorsese and De Niro sought to make an uncompromising portrait of an unlikable man and his ruthless profession. Eschewing uplifting Rocky-like boxing movie conventions, their Jake is relentlessly cruel and self-destructive; the only peace he can make is with himself. Michael Chapman's stark black-and-white photography creates a documentary/tabloid realism; the production famously shut down so that De Niro could gain 50-plus pounds. Raging Bull opened in late 1980 to raves for its artistry and revulsion for its protagonist; despite eight Oscar nominations, it underperformed at the box office, as audiences increasingly turned away from "difficult" films in the late '70s and early '80s. The Academy concurred, passing over Scorsese's work for Best Director and Picture in favor of Robert Redford and Ordinary People, although De Niro won a much-deserved Oscar, as did the film's editor, Thelma Schoonmaker. Oscar or no Oscar, Raging Bull has often been cited as the best American film of the 1980s. ~ Lucia Bozzola, All Movie Guide