---
title: "Moonstruck"
year: 1987
kind: "film"
canonical: "https://film.one/film/moonstruck"
fi1m_id: "moonstruck"
imdb_id: "tt0093565"
tmdb_id: 2039
wikidata_id: "Q1336107"
fi1m_score: 84
critics_score: 79
critics_reviews: 6
published: "2026-09-15"
updated: "2026-09-18T08:38:36.284397+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Moonstruck (1987)

Directed by Norman Jewison · 1h 42m · MPA PG · Comedy, Drama, Romance

## Identity

Moonstruck

- **Canonical:** https://film.one/film/moonstruck
- **Type:** Film
- **Fi1m ID:** moonstruck
- **IMDb ID:** tt0093565
- **TMDB ID:** 2039
- **Wikidata ID:** Q1336107
- **Same entity:** https://www.imdb.com/title/tt0093565/, https://www.themoviedb.org/movie/2039, https://www.wikidata.org/wiki/Q1336107

**Fi1m score: 84** · Critics 79 from 6 reviews

*In a sentence:* Cher approaches a marriage proposal with the expression of someone who will end up doing the paperwork

> *Moonstruck* is a warm, funny romance with enough sense to give the older lovers proper attention. Cher holds it steady when Nicolas Cage overdoes the anguish, and the family scenes make it worth forgiving him.

## Synopsis

Cher plays Loretta Castorini, a widowed book-keeper faced with the prospect of romance. A marriage proposal brings questions of love and duty into focus, while an encounter with Ronny Cammareri (Nicolas Cage) complicates her practical approach to life. Around them, an Italian-American family contends with its own desires and expectations of marriage. Olympia Dukakis and Vincent Gardenia play Rose and Cosmo Castorini, with Danny Aiello as Johnny Cammareri. The story follows younger and older people as they try to reconcile what they want with what they consider proper.

## Review

Norman Jewison’s *Moonstruck* is a romantic comedy that takes desire seriously without requiring everyone to behave sensibly. It is funny, generous and warmly recommended, with a reservation about Nicolas Cage’s determination to make his feelings audible at considerable distance. John Patrick Shanley’s script gives its characters the sort of language people might like to find when an ordinary conversation becomes an argument about their entire lives. Jewison lets them say it with conviction, while keeping enough everyday fuss around them to stop the film becoming pompous.

Cher’s Loretta Castorini is the sensible presence this comedy needs, though being sensible does not make her immune to wanting something unwise. As a widowed book-keeper, she seems accustomed to sorting out what other people leave unfinished. We laughed at the marriage proposal because Cher makes the occasion feel like another responsibility Loretta has been obliged to take on. Her delivery is brisk without being cold, and she leaves enough uncertainty in Loretta’s face for the romance to have somewhere to go.

Cage’s Ronny Cammareri is less evenly judged. His aggrieved intensity gives Cher something substantial to resist, and the contrast between their performances is often funny before Shanley supplies a joke. But he sometimes stresses a feeling so heavily that we stop believing in it and start watching an actor insist. Jewison’s tolerance for that excess suits a film about surrendering caution, though there are moments when a quieter Ronny would have been more persuasive.

Olympia Dukakis, as Rose Castorini, works with much less visible effort. She makes a pause feel like a decision about how much truth the conversation can stand, and Vincent Gardenia’s Cosmo gives the family scenes another strong source of comic friction. The older characters have desires of their own; their lives are not simply there to explain Loretta’s. Shanley gives them attention, and the actors repay it by making their disappointments worth following in their own right.

David Watkin’s cinematography is particularly useful when the actors are doing less. Faces remain the thing we want to study, and the photography gives Cher and Dukakis room to hold our attention without a speech. Philip Rosenberg’s production design makes the family surroundings feel lived in rather than arranged for a romantic comedy. The visual details of Italian-American life help establish people with habits and histories, so the declarations do not seem to be happening in an empty space.

Lou Lombardo’s editing keeps the competing stories from feeling like interruptions. A pause can belong to a performer, and the family exchanges have time to become funny without the next cut hurrying the joke along. Dick Hyman’s music helps the changes between comedy and tenderness feel comfortable, although the actors supply the feeling we remember. At 102 minutes, the film has enough time for the supporting cast without letting the central romance drift out of sight.

Romantic comedies can become so preoccupied with getting a couple together that everyone else seems to be waiting for permission to leave. Here we would happily spend longer with Rose and Cosmo, and that is a large part of the pleasure. The broadness needs forgiving, particularly when Cage is pressing hard. Watch it with someone who enjoys an argument and knows when to let the other person finish.

*Fi1m score 84, published 15 September 2026.*

## What the critics say

Most critics respond warmly to Moonstruck, with praise clustering around John Patrick Shanley’s dialogue and an ensemble that makes the family’s romantic entanglements feel affectionate and credible. Cher draws particular approval, while Olympia Dukakis and Vincent Gardenia receive attention for the supporting performances that give the comedy much of its warmth. The reviews also credit Norman Jewison’s direction and timing with keeping the film’s eccentric humour, family tensions and more poignant moments in balance.

The spread is largely favourable, with reservations concentrated in a more muted response rather than outright rejection. Time Out finds the observation of Italian-American customs and sexism more persuasive than the romance, and regards Nicolas Cage as less convincing than his fellow performers. The Hollywood Reporter, by contrast, includes Cage among the ensemble’s strengths. The main disagreement is over how convincingly the film handles romantic passion; its dialogue, character detail and family comedy attract broader approval.

## Straight answers

**Is Moonstruck worth watching?**

*Moonstruck* is worth watching for anyone who likes a romantic comedy that gives the whole family something to do, and we scored it 84. Cher keeps it steady as a widowed book-keeper who treats a proposal like more paperwork, while Nicolas Cage pushes his anguish harder than the film needs. The scenes with Olympia Dukakis and Vincent Gardenia are the reason to forgive him.

**How long is Moonstruck, and what is it rated?**

*Moonstruck* runs 1h 42m and is rated PG by the MPA in the US. It is a comedy and drama film.

**Where can I watch Moonstruck in the US?**

*Moonstruck* is streaming on Amazon Prime Video and Apple TV in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How does Moonstruck compare to The Apartment?**

*Moonstruck* is the warmer and broader of the two, and [*The Apartment*](https://film.one/film/the-apartment) is the sadder and more patient. Both take loneliness seriously and remember to be funny, but Norman Jewison's film spreads its attention across an Italian-American family, where Billy Wilder stays close to two unhappy people in an office. Choose *Moonstruck* for comfort and argument, *The Apartment* for a romance that hurts a little more.

**What should I watch after Moonstruck?**

After *Moonstruck*, try [*The Shop Around the Corner*](https://film.one/film/the-shop-around-the-corner) (1940, Fi1m 88): For prickly courtship, working lives and affection that survives a difficult conversation. Then [*The Apartment*](https://film.one/film/the-apartment) (1960, Fi1m 91): Another romance that takes loneliness seriously and remembers to be funny; and [*The Wedding Banquet*](https://film.one/film/the-wedding-banquet) (1993, Fi1m 81): Family expectations make a supposedly practical romantic arrangement considerably more complicated.

### Reviews we read (7)

- **RogerEbert.com**, Roger Ebert (90/100, inferred): Ebert praises the film as a romantic comedy grounded in emotional abandon and poignant truth, with a large ensemble of characters whose parallel stories are deftly handled. He singles out the nuanced performances and dialogue that reveal characters open to life's beauty and mystery despite their flaws. [Read](https://www.rogerebert.com/reviews/great-movie-moonstruck-1987)
- **Los Angeles Times**, Sheila Benson (85/100, inferred): Benson calls the film a nourishing and enticing romantic comedy that satisfies hungers for romance, family warmth, and self-knowledge. She singles out the gorgeous, insightful dialogue from writer John Patrick Shanley and the perfect balance with Jewison's direction and timing. [Read](https://www.latimes.com/archives/la-xpm-1987-12-16-ca-19394-story.html)
- **Empire**, Angie Errigo (80/100, inferred): The critic praises the sparkling, gently peculiar comedy and Norman Jewison’s beautifully made, offbeat tale of amore among an Italian-American family in the throes of mid-life crises. They highlight the rich screenplay, marvellous cast, and especially Cher’s performance as the widowed book-keeper who discovers passion. [Read](https://www.empireonline.com/movies/reviews/moonstruck-review/)
- **Radio Times**, John Ferguson (4/5): The critic highlights Cher's Oscar-winning performance that proves her acting ability, along with the warm and affectionate portrayal of Italian-American life by screenwriter John Patrick Shanley. It singles out the supporting turns by Olympia Dukakis and Vincent Gardenia for particular praise, noting the director allows the cast to shine. [Read](https://www.radiotimes.com/movie-guide/b-cm6ker/moonstruck/)
- **Variety**, Variety Staff (80/100, inferred): The review finds the film a mostly appetizing blend of comedy and drama with snappy dialogue and a wonderful ensemble. It singles out the older lovers, especially Olympia Dukakis's splendidly controlled performance, for giving the picture its endearing spirit. [Read](https://variety.com/1986/film/reviews/moonstruck-1200427180/)
- **Time Out**, BC (60/100, inferred): The critic finds the film stronger on social mores than romance, describing it as a half-smile for a summer night. It praises the visual details of Italian-American life and Jewison's gentle mockery of formal traditions and sexism, while noting Nicolas Cage's performance is less convincing than others. [Read](https://www.timeout.com/movies/moonstruck)
- **The Hollywood Reporter**: The review delivers a strongly positive verdict on this romantic comedy, calling it a highlight of the holiday season with universal appeal and strong box-office prospects. It singles out John Patrick Shanley's script for bringing the characters vividly to life through distinctive language and praises the ensemble cast, particularly Cher, Olympia Dukakis, and Nicolas Cage. [Read](https://www.hollywoodreporter.com/movies/movie-news/moonstruck-review-movie-cher-1987-1235761983/)

## Details

- **Director:** Norman Jewison
- **Director:** Norman Jewison
- **Writer:** John Patrick Shanley
- **Cinematography:** David Watkin
- **Editor:** Lou Lombardo
- **Music:** Dick Hyman
- **Production design:** Philip Rosenberg
- **Producer:** Norman Jewison, Patrick J. Palmer
- **Cast:** Cher Bono as Loretta Castorini; Nicolas Cage as Ronny Cammareri; Vincent Gardenia as Cosmo Castorini; Olympia Dukakis as Rose Castorini; Danny Aiello as Mr. Johnny Cammareri; Julie Bovasso as Rita Cappomaggi; John Mahoney as Perry; Louis Guss as Raymond Capomaggi
- **Runtime:** 1h 42m
- **Certificate (MPA):** PG
- **Release (the US):** 15 January 1988
- **Genres:** Comedy, Drama, Romance
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 1987); [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 1987)
- **Budget:** $15 million
- **Box office:** $122 million
- **Trailer:** https://www.youtube.com/watch?v=MN3sPq9RJKM

## Where to watch in the US

- Amazon Prime Video: streaming
- Apple TV: add-on, hd
- Amazon Prime Video: add-on
- Amazon Prime Video: rent $3.99, hd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $6.99, hd
- Apple TV: buy $14.99, hd

*Checked 2026-09-15.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 1988: Best Director (nominated); Best Picture (nominated); Best Supporting Actor (nominated); Best Actress (won); Best Supporting Actress (won); Best Writing, Original Screenplay (won)

## If you liked this

- *The Shop Around the Corner* (1940), Fi1m 88: For prickly courtship, working lives and affection that survives a difficult conversation. — [Fi1m page](https://film.one/film/the-shop-around-the-corner.md)
- *The Apartment* (1960), Fi1m 91: Another romance that takes loneliness seriously and remembers to be funny. — [Fi1m page](https://film.one/film/the-apartment.md)
- *Bread and Tulips* (2000): For adult longing, domestic exasperation and the pleasure of starting again.
- *The Wedding Banquet* (1993), Fi1m 81: Family expectations make a supposedly practical romantic arrangement considerably more complicated. — [Fi1m page](https://film.one/film/the-wedding-banquet.md)
- *Only Yesterday* (1991): A quieter choice about adulthood, remembered hopes and making room for love.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/moonstruck