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How old was Tom Cruise in the movie Cocktail?

Tom Cruise was 25 in Cocktail when he played the character 'Brian Flanagan'.

That was over 36 years ago in 1988.

Today he is 61 , and has starred in 86 movies in total, 70 of those since Cocktail was released.

How old do you think he looks in the movie?

In Cocktail, I think Tom Cruise looks:

Did you know?

• Director Roger Donaldson has worked with Tom Cruise just once in his career.
• Tom Cruise's first movie was as 'Billy' in Endless Love, released in 1981 when he was 18
• Cocktail scores 6.06 out of 10 on TMDB .

The cast of Cocktail

Tom Cruise's other movies

10 Stirring Facts About Cocktail

By roger cormier | jan 23, 2017.

One of cinema's greatest guilty pleasures, Cocktail starred Tom Cruise as Brian Flanagan, a young man who unexpectedly achieves some fame as a "flair bartender" in New York City along with his mentor, Doug Coughlin (Bryan Brown). Brian eventually takes his bottle-flipping skills down to Jamaica, where he falls for Jordan (Elisabeth Shue), a vacationing artist. Here are some facts about the Tom Cruise staple, in accordance with Coughlin's Law.

1. BRIAN FLANAGAN WAS ALMOST TWICE AS OLD IN THE BOOK.

Yes, Cocktail was originally a novel; it was written by Heywood Gould, and based on the dozen years he spent bartending to supplement his income as a writer. Whereas Tom Cruise's Brian Flanagan is in his twenties, Gould's protagonist was described as a "38-year-old weirdo in a field jacket with greasy, graying hair hanging over his collar, his blue eyes streaked like the red sky at morning." As Gould told the Chicago Tribune , "I was in my late 30s, and I was drinking pretty good, and I was starting to feel like I was missing the boat. The character in the book is an older guy who has been around and starting to feel that he's pretty washed-up." Disney and Gould—who adapted his book for the screen—fought over making Brian Flanagan younger, with Gould eventually relenting .

2. THERE WERE AT LEAST 40 DIFFERENT VERSIONS OF THE SCRIPT.

The script went through a couple of different studios, and dozens of iterations. According to Gould , "there must have been 40 drafts of the screenplay before we went into production. It was originally with Universal. They put it in turnaround because I wasn't making the character likable enough. And then Disney picked it up, and I went through the same process with them. I would fight them at every turn, and there was a huge battle over making the lead younger, which I eventually did."

Bryan Brown explained that when Cruise came on board, the movie "had to change. The studio made the changes to protect the star and it became a much slighter movie because of it."

Kelly Lynch, who played Kerry Coughlin, was much more forthright about how Gould's vision for the story changed under Disney, telling The A.V. Club :

"[Cocktail] was actually a really complicated story about the ’80s and power and money, and it was really re-edited where they completely lost my character’s backstory—her low self-esteem, who her father was, why she was this person that she was—but it was obviously a really successful movie, if not as good as it could’ve been. It was written by the guy who wrote Fort Apache The Bronx, and it was a much darker movie, but Disney took it, reshot about a third of it, and turned it into flipping the bottles and this and that."

3. FOR A BRIEF SECOND, DISNEY WASN'T COMPLETELY SOLD ON TOM CRUISE IN THE LEAD.

Recounting the kind of story that only happens in Hollywood, Gould told the Chicago Tribune about one of his early meetings with Disney heads Michael Eisner and Jeffrey Katzenberg. "Someone mentioned that this might be a good vehicle for Tom Cruise," Gould recalled. "Eisner says, 'He'll never do this, don't waste your time, he can't play this part.' And then Katzenberg says, 'Well, he's really interested in doing it,' and without skipping a beat Eisner says, 'He's perfect for it, a perfect fit!' That's the movie business: I hate him, I love him; I love him, I hate him!"

4. BRYAN BROWN'S AUDITION WAS "DREADFUL."

Director Roger Donaldson specifically wanted Bryan Brown to audition for the role of Doug. Brown flew from Sydney to New York and, almost immediately after his 20-plus-hour flight, was sitting in front of Donaldson. "He did the audition and he was dead tired and it was dreadful," Donaldson said . "After he did it I was like, ‘Bryan, do yourself a favor—we’ve got to do it again tomorrow.’ And he said, ‘No, no, I’m catching a plane back tonight.’ I couldn’t persuade him to stay and do it again, so I didn’t show anybody the audition." Instead, Donaldson told the producers and studio to watch Brown's performance in F/X (1986); clearly, they liked what they saw.

5. CRUISE AND BROWN PRACTICED THEIR FLAIR BARTENDING, AND USED REAL BOTTLES ON SET.

Los Angeles TGI Friday's bartender John Bandy was hired to train Cruise and Brown after he served a woman who worked for Disney who was on the lookout for a bartender for Cocktail . Bandy trained the two stars in the bottle-flipping routines , and Gould took Cruise and Brown to his friend's bar to show them the tricks they used to do . Donaldson claimed they used real bottles—and yes, they did break a few .

6. JAMAICA WASN'T KIND TO TOM CRUISE

The Jamaica exteriors were shot on location, where it was cold, and Cruise got sick. When he and Shue had to shoot a love scene at a jungle waterfall, it wasn't pleasant. "It’s not quite as romantic as it looks,” Cruise told Rolling Stone . “It was more like ‘Jesus, let’s get this shot and get out of here.’ Actually, in certain shots you’ll see that my lips are purple and, literally, my whole body’s shaking.”

7. THE FILM SCORE WAS ENTIRELY REWRITTEN IN A WEEKEND.

Three-time Oscar winner Maurice Jarre ( Lawrence of Arabia ) was Cocktail 's original composer, but the producers didn't think his score "fit in" with the story. They particularly didn't like one cue, so they called in J. Peter Robinson to fix it. Donaldson liked what Robinson did so much, that he asked the composer to take over and do the rest of the work. "All this was happening on a Friday," Robinson said . "I was starting another film on the following Monday and told Roger that I was going to be unavailable. 'We're print-mastering on Monday, mate!!' Roger said. So from that point on I stayed up writing the score and delivered it on Monday morning at around five in the morning."

8. "KOKOMO" WAS WRITTEN FOR THE MOVIE.

While it was The Beach Boys, by then minus Brian Wilson, that recorded the song which brought the group back into the spotlight, "Kokomo" was penned by John Phillips of the Mamas and the Papas; Scott McKenzie, who wrote “San Francisco (Be Sure to Wear Flowers in Your Hair)”; producer Terry Melcher, Doris Day's son; and Mike Love. Phillips wrote the verses, Love wrote the chorus, and Melcher penned the bridge. The specific instructions were to write a song for the part when Brian goes from a bartender in New York to Jamaica. Off of that, Love came up with the "Aruba, Jamaica ..." part .

9. ROGER DONALDSON IS SORRY ABOUT "DON'T WORRY BE HAPPY."

Bobby McFerrin's "Don't Worry, Be Happy" hit number one thanks to its inclusion on the Cocktail soundtrack. The director heard the song on the radio one day while driving to the set. “I heard it and thought it would be perfect for the film," he said . "And suddenly it was everywhere. Sorry about that."

10. THE REVIEWS—INCLUDING TOM CRUISE'S—WERE HARSH.

To conclude his two-star review, Roger Ebert wrote , "The more you think about what really happens in Cocktail, the more you realize how empty and fabricated it really is." Richard Corliss of TIME said it was "a bottle of rotgut in a Dom Perignon box."

In 1992, even Tom Cruise admitted that the movie "was not a crowning jewel" in his career. And Heywood Gould wasn't pleased with it at first either. "I was accused of betraying my own work, which is stupid," Gould said . "So I was pretty devastated. I literally couldn't get out of bed for a day. The good thing about that experience is that it toughened me up. It was like basic training. This movie got killed, and then after that I was OK with getting killed—I got killed a few more times since then, but it hasn't bothered me."

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Movie Reviews

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"Cocktail" tells the story of two bartenders and their adventures in six bars and several bedrooms. What is remarkable, given the subject, is how little the movie knows about bars or drinking.

Early in the film, there's a scene where the two bartenders stage an elaborately choreographed act behind the bar. They juggle bottles in unison, one spins ice cubes into the air and the other one catches them, and then they flip bottles at each other like a couple of circus jugglers. All of this is done to rock 'n' roll music, and it takes them about four minutes to make two drinks. They get a roaring ovation from the customers in their crowded bar, which is a tip-off to the movie's glossy phoniness. This isn't bartending, it's a music video, and real drinkers wouldn't applaud, they'd shout: "Shut up and pour!" The bartenders in the film are played by Tom Cruise , as a young ex-serviceman who dreams of becoming a millionaire, and Bryan Brown , as a hard-bitten veteran who has lots of cynical advice. Brown advises Cruise to keep his eyes open for a "rich chick," because that's his ticket to someday opening his own bar. Cruise is ready for this advice.

He studies self-help books and believes that he'll be rich someday, if only he gets that big break. The movie is supposed to be about how he outgrows his materialism, although the closing scenes leave room for enormous doubts about his redemption.

The first part of the movie works the best. That's when Cruise drops out of school, becomes a full-time bartender, makes Brown his best friend and learns to juggle those bottles. In the real world, Cruise and Brown would be fired for their time-wasting grandstanding behind the bar, but in this movie they get hired to work in a fancy disco where they have a fight over a girl and Cruise heads for Jamaica.

There, as elsewhere, his twinkling eyes and friendly smile seem irresistible to the women on the other side of the bar, and he lives in a world of one-night stands. That's made possible by the fact that no one in this movie has ever heard of AIDS, not even the rich female fashion executive ( Lisa Banes ) who picks Cruise up and takes him back to Manhattan with her.

What do you think? Do you believe a millionaire Manhattan woman executive in her 30s would sleep with a wildly promiscuous bartender she picks up on the beach? Not unless she was seriously drunk. And that's another area this movie knows little about: the actual effects of drinking. Sure, Cruise gets tanked a couple of times and staggers around a little and throws a few punches. But given the premise that he and Brown drink all of the time, shouldn't they be drunk, or hung over, at least most of the time? Not in this fantasy world.

If the film had stuck to the relationship between Cruise and Brown, it might have had a chance. It makes a crucial error when it introduces a love story, involving Cruise and Elisabeth Shue , as a vacationing waitress from New York. They find true love, which is shattered when Shue sees Cruise with the rich Manhattan executive.

After the executive takes Cruise back to New York and tries to turn him into a pampered stud, he realizes his mistake and apologizes to Shue, only to discover, of course, that she is pregnant - and rich.

The last stages of the movie were written, directed and acted on automatic pilot, as Shue's millionaire daddy tries to throw Cruise out of the penthouse but love triumphs. There is not a moment in the movie's last half-hour that is not borrowed from other movies, and eventually even the talented and graceful Cruise can be seen laboring with the ungainly reversals in the script. Shue, who does whatever is possible with her role, is handicaped because her character is denied the freedom to make natural choices; at every moment, her actions are dictated by the artificial demands of the plot.

It's a shame the filmmakers didn't take a longer, harder look at this material. The movie's most interesting character is the older bartender, superbly played by Brown, who never has a false moment. If the film had been told from his point of view, it would have been a lot more interesting, but box-office considerations no doubt required the center of gravity to shift to Cruise and Shue.

One of the weirdest things about "Cocktail"' is the so-called message it thinks it contains. Cruise is painted throughout the film as a cynical, success-oriented 1980s materialist who wants only to meet a rich woman and own his own bar. That's why Shue doesn't tell him at first that she's rich. Toward the end of the movie, there's a scene where he allegedly chooses love over money, but then, a few months later, he is the owner and operator of his own slick Manhattan singles bar.

How did he finance it? There's a throwaway line about how he got some money from his uncle, a subsistence-level bartender who can't even afford a late-model car. Sure. It costs a fortune to open a slick singles bar in Manhattan, and so we are left with the assumption that Cruise's rich father-in-law came through with the financing. If the movie didn't want to leave that impression, it shouldn't have ended with the scene in the bar. But then this is the kind of movie that uses Cruise's materialism as a target all through the story and then rewards him for it at the end. The more you think about what really happens in "Cocktail," the more you realize how empty and fabricated it really is.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Peyton Robinson

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Film credits.

Cocktail (1988)

100 minutes

Laurence Luckinbill as Mr. Mooney

Tom Cruise as Brian Flanagan

Lisa Banes as Bonnie

Elisabeth Shue as Jordan Mooney

Bryan Brown as Doug Coughlin

Directed by

• Roger Donaldson

Produced by

• Robert W. Cort

Screenplay by

• Heywood Gould

Photographed by

• Dean Semler
• Neil Travis
• J. Peter Robinson

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The Best Tom Cruise Year Is ...

… maybe not the most obvious one. But when Cruise made ‘Cocktail’ and ‘Rain Man,’ he unlocked a new side that would define the quintessential movie star’s career for decades to come.

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You’ve probably already heard the stories about Tom Cruise’s preposterous level of effort in the new Mission: Impossible—Fallout, in which he plays the role of Ethan Hunt for the sixth time in 22 years. Of course the aggressively ageless 56-year-old performs his own stunts. At one point, he broke his ankle after slamming into the side of a damn building—and then pulled himself up, and ran across the roof. And then there’s the spectacular helicopter chase sequence, for which Cruise (again, of course ) learned how to really pilot a helicopter. Elsewhere, when he’s not risking life and actual limbs in Fallout , he is doing that rigorous, purposeful Tom Cruise sprint , like Jim Fixx on a Red Bull bender.

That’s the one thing everyone — fans and critics alike — always says about him: Tom Cruise works hard. Working hard is his brand. He’s, well, worked very hard to make it so.

But what if he didn’t work quite so hard? Not to suggest that Tom Cruise has ever coasted, exactly. But what if he let himself lay back just a little bit and allowed the centrifugal force of his one-in-a-billion movie-star charisma propel him forward? Is it possible that this would make the longest-tenured A-list movie star since Clint Eastwood even more watchable?

Almost 30 years ago to the day, millions of people lined up to see the latest Tom Cruise movie, and the stakes couldn’t have been lower. The mission was not impossible; it was impossibly mundane. What mattered were dreams … and cocktails … Cocktails & Dreams, if you will. And people were fine with that! All it took to put butts in seats was this simple log line: Tom Cruise plays a sexy bartender . That’s it. Nothing else was required — no special effects, no elaborate cinematic universe, and certainly no broken ankles.

This is not to say that Tom Cruise sloughed off in Cocktail, one of the more popular, and least reputable, films in his oeuvre. He tossed bottles in synchronized motion with costar Bryan Brown. He rode horses on the beach with love interest Elisabeth Shue. He resisted the string-bikini’d bod of Kelly Lynch. He reacted with appropriate pathos to one of the all-time left-field suicide scenes. He put in work.

When was the last time you watched Cocktail ? Oh, you’ve never watched Cocktail ? Wow … I really don’t want to spoil this one. I’ll run down the essentials: Cruise plays Brian Flanagan, a wannabe business tycoon and military veteran (!) who moves to the big city in order to get rich, and then becomes a bartender at a TGI Fridays. And that’s basically all you need to know.

What Cocktail is really about is the desirability of Tom Cruise circa 1988. Put another way: Everybody in this movie wants to fuck him — Shue, Lynch, even Brown, kind of. Women literally paw at his legs when he stands on a bar top to recite tavern-inspired poetry. (This is also a thing that happens in Cocktail. ) He is, in no uncertain terms, a sex object.

“Doug says you’re incredible with women — a real lady-killer,” Lynch drools near the end of Cocktail as she corners a semi-willing Cruise. “What’s your secret weapon?”

“Well,” Cruise says, flashing his trademark toothy grin, “what you see is what you get.”

He’s not lying.

Cocktail played a pivotal role in consolidating Cruise’s burgeoning stardom, a star vehicle built on the flimsiest of premises that grossed $78 million domestically (and another $93 million around the world), good for the ninth-best box-office haul of 1988, an achievement that could only be attributed to Cruise’s mega-watt marquee appeal. But it never fully registered as a career triumph. Not long after Cocktail unleashed so many dubious fads on American pop culture — including two of the era’s most grating pop hits, the Beach Boys’ “Kokomo” and Bobby McFerrin’s “Don’t Worry Be Happy,” to say nothing of acrobatic mixology — Cruise distanced himself from the film.

“It’s painful as hell,” Cruise says of watching Cocktail in a 1990 Rolling Stone profile . “I mean, I worked my ass off on that movie.” Again with the work ethic, Tom.

Defenders of Cocktail have tried to couch it as a “secretly dark” look at ’80s “greed is good” culture, a depiction not far off from the eccentric barfly novel on which it is based. Screenwriter Heywood Gould, who also wrote the book, later claimed that the script went through 40 different iterations, with the film’s studio, Disney, constantly pressing to make Flanagan younger, more likable, and, ultimately, more Cruise-like. But even after all of those revisions, Cocktail was still watered down further during production.

“It was a much darker movie,” Lynch told The A.V. Club in 2012 , “but Disney took it, reshot about a third of it, and turned it into flipping the bottles and this and that.”

When I revisited Cocktail recently, I could see traces of the more biting film it might have been. Flanagan is a prototypical working-class stiff who is twisted by capitalism into a money-obsessed douche, lending his blandly handsome bro-ness a faintly tragic lilt. But I prefer to accept Cocktail on its own compromised, cheesy terms. Forget the Reagan-era subtext. This is an enjoyable dumb movie, and it is best appreciated as a superficial confection. What you see is what you get.

And it deserves better. Cocktail isn’t any campier than Top Gun , with its slow-motion volleyball action, overwrought “Take My Breath Away” love scene, and Val Kilmer’s playfully unrestrained homoeroticism. So why is Cocktail the movie that Cruise has to live down?

In May, Cruise started filming Top Gun: Maverick , which is currently slated to arrive in theaters around this time in 2019. Cruise started teasing the possibility of a sequel to the 1986 film two years ago, on Jimmy Kimmel Live! He is, as always, committed to the enterprise, even if it is wholly unnecessary. But the closest Cruise will likely ever come to reviving Cocktail was a career-spanning bit with another late-night host, James Corden, on that same 2016 press cycle. This is a shame — I would rather watch a prequel delving into Flanagan’s mysterious Army background than a movie about Maverick’s kid . Call it Cocktail: First Blood. (I will nevertheless watch the movie about Maverick’s kid.)

This willingness to revisit Top Gun , and reticence to embrace Cocktail , presumably boils down to one thing for Cruise: He had to train in an F-14 to make Top Gun , whereas Cocktail only needed that dumb hook — Tom Cruise plays a sexy bartender — to be a success. He worked hard on Cocktail , but he didn’t have to work hard. He just had to be Tom Cruise.

But he didn’t want to be that Tom Cruise anymore. And he wouldn’t be ever again.

For millennials and Generation Z, there’s never been a world in which Cruise wasn’t among the most famous people on the planet. (August 5 marks the 35th anniversary of Risky Business , Cruise’s big breakthrough, released one month after his 21st birthday.) He’s practically an elemental property at this point.

But there have been oscillations in his fame. You might remember them, the way you can recall down seasons for a dynastic sports franchise. Like in the mid-’00s, during that disastrous press cycle for 2005’s War of the Worlds , marred by the Oprah Winfrey incident and that time he got testy with Matt Lauer. (When does Cruise get awarded his revisionist history bonus points for the last one?) The past few years have been another struggle: 2016’s Jack Reacher: Never Go Back and 2017’s The Mummy were widely derided duds. But his late-’10s period hasn’t been as down as you might think: Last year’s American Made , while not exactly great, is awfully hard not to watch when it pops up on airplanes or HBO.

Cruise has been around for so long, all while working steadily and prolifically, that you can break his career into notable eras, or even memorable years. Many of his notable films come in bunches. There’s 1986, the year of Top Gun and The Color of Money , his first movie to gross more than $100 million and his first “adult” drama . There’s 1996, the “blockbuster” year, distinguished by Jerry Maguire and the first Mission: Impossible , which combined grossed more than $731 million worldwide. (That’s about $1.2 billion in 2018 dollars.) There’s 1999, the “prestige” year, with Eyes Wide Shut and Magnolia , neither of which nabbed him that elusive Oscar . And then there’s the opposite of a prestige year, 2012, marked by late-career guilty pleasures Rock of Ages and (the pretty good!) first Jack Reacher film.

But if I’m picking my favorite Tom Cruise year, I’m going back to 1988, his “transitional” year, when he released Cocktail at the end of July and Rain Man , his road movie–buddy picture with Dustin Hoffman, one week before Christmas. Between the release of those radically different movies, from October to December, he filmed Born on the Fourth of July with Oliver Stone, playing the paraplegic Vietnam veteran Ron Kovic, which garnered him his first Oscar nomination.

Rain Man was even more successful than Cocktail , tallying a worldwide gross of nearly $355 million and four Oscars. (It was no. 1 at the American box office that year, which seems all the more incredible in these franchise-saturated times.) Cruise undoubtedly was a primary reason for the former, though he wasn’t nominated for an Academy Award. But Rain Man gave him something far more valuable — a pathway to the “mature” second act of his professional life, to the success of Born on the Fourth of July and beyond.

When you look at the best years of Cruise’s career, there’s an obvious yin-and-yang quality, typically balancing an action tent-pole like Top Gun and Mission Impossible with a “smaller” film such as The Color of Money or Jerry Maguire. This contrast is starkest in ’88, between the disreputable camp classic and the award-winning family drama.

An oft-repeated complaint about Cruise’s recent filmography is the loss of that balance. It’s been this way for about 15 years. In the early ’00s, he made two risky sci-fi films, 2001’s Vanilla Sky and 2002’s Minority Report , and his overall best movie of the 21st century, 2004’s Collateral , along with requisite business-minded ventures like 2000’s Mission: Impossible II and 2003’s forgettable but very profitable The Last Samurai.

Cruise hasn’t made a movie remotely like Collateral since then. In the past decade, he has tilted heavily to tent-poles with astronomical budgets, including four more Mission: Impossible films. Then again, Hollywood has also abandoned yang in order to focus solely on yin. And Tom Cruise and Hollywood are nothing if not symbiotic. You don’t get to your 35th year as a movie star without always adapting to the present climate.

Cruise has been a rare constant in Hollywood since the early ’80s. But neither Cruise nor Hollywood has stayed the same. There have been several reinventions for both American institutions along the way.

Time, for one, moved much slower in 1988. A lot could happen in six months. The Tom Cruise of Cocktail is not the Tom Cruise of Rain Man. When you toggle between those films, you get the rare opportunity to witness an iconic actor grow up in real time.

Tom Cruise in 1988 is like U2 in 1983. In the video for “Sunday Bloody Sunday,” filmed live at Red Rocks Amphitheater outside of Denver, Bono is still an awkward kid — he has a mullet, a sleeveless shirt, knee-high boots, and an abundance of spirited high kicks. He’s not really the stadium-rock Bono yet. But every so often you catch a glimmer in his eyes that says, I think I know how to own these people. I’m not there yet, but I’m on my way. Cruise similarly came into his own as a grown-up star in the transition from Cocktail and Rain Man. Though Bono didn’t completely lose the mullet for another four years, Cruise’s transformation was far more condensed.

If Cocktail truly is a failure — I don’t think it is, but Cruise does — it is first and foremost a failure of career planning. It’s a little like Bono briefly reverting to his Under a Blood Red Sky guise between The Joshua Tree and Achtung Baby. Cocktail was a throwback to the early ’80s Tom Cruise of Losin’ It and Legend , before he got his act together and became the Tom Cruise, a movie star who transcends time, generations, and bodily harm . Cocktail feels out of place between The Color of Money and Rain Man in Cruise’s catalog, in the midst of his “apprenticeship” period, when he dutifully shared the spotlight with respected elders from the ’60s and ’70s like Paul Newman and Dustin Hoffman, on the way to becoming an elder himself. (This continued with Robert Duvall in Days of Thunder , Jack Nicholson in A Few Good Men , and Gene Hackman in The Firm , culminating with Stanley Kubrick and Eyes Wide Shut. )

Standing next to distinguished gentlemen makes you look distinguished. In Cocktail , Cruise resembles a man in his mid-20s who still lives with roommates and sleeps on a mattress on the floor. In Rain Man , he’s that same guy after he’s settled down with a nice girl and an IKEA charge card. This shift from innocence to experience defines the crux of Cocktail and Rain Man. After Cocktail , a cinematic mullet if there ever was one, Cruise would never be so guileless again on screen.

Rain Man made Paul Thomas Anderson realize that he loves Tom Cruise more than most people.

“He’s funny too!” Anderson raved last December to Bill Simmons . “Cruise is funny . When you see Tom Cruise on screen, name me anyone else that can do that right now.”

Cruise’s portrayal of Charlie Babbitt — luxury car huckster, mocker of his disabled brother, impatient clapper when people aren’t moving fast enough — helped to inspire Frank T.J. Mackey, the role Anderson created for Cruise in 1999’s Magnolia. You don’t need to squint hard to see the parallels. Charlie and Frank are unlikable assholes nursing wounded hearts and troubled relationships with their fathers. They abuse people as a way of keeping the world at arm’s length, the ultimate form of self-abuse. And when they achieve catharsis, they aren’t redeemed — their souls have thawed, but they haven’t stopped being assholes.

They are also, like PTA says, very funny characters, mostly because they are excuses for Cruise to launch into prolonged mental breakdowns. Is there anything better than Tom Cruise huffing, puffing, gesticulating, becoming unglued, yelling , and finally losing his freaking mind?

For years, distinguished directors lined up to run Cruise through the wringer: Scorsese, Levinson, Stone, Pollack, De Palma, Crowe, and Kubrick all delighted in driving him absolutely wild. What fresh torture can we inflict on Tom Cruise this time? Put him in a wheelchair! Strip him of his lucrative sports-agent career! Send him on a metaphorical “journey into the night” that doubles as a rumination on the compromises inherent to any marriage! Now, step back and watch the glorious madness commence.

During the prelude to the 61st Academy Awards, Hoffman was the favorite to win Best Actor for Rain Man . He did just that. (The other nominees that year included Tom Hanks for Big and Edward James Olmos in Stand and Deliver , both of whom seem leagues better in retrospect.) At the time, Hoffman’s performance was widely admired as a landmark in the portrayal of a disabled person on film. But since then, Hoffman’s stock has plummeted and Cruise’s has skyrocketed. It’s now become a cliché to talk about how much better Cruise is than Hoffman in Rain Man , even though he supposedly has the less showy role.

This is only half true. Cruise is indeed superior to Hoffman’s mannered, dated performance as Raymond Babbitt, which now seems like a cartoonish caricature of a person with autism. But Cruise’s work in Rain Man can’t really be described as not showy. While Hoffman exists as a static irritant, Cruise is reactive to the extreme. He’s big and bombastic, and he dominates the film’s dramatic arc. He’s the one the audience relates with, the one who changes from the start of the story to the end — not much, but enough. It’s dazzling to witness. Rain Man is the greatest breakdown of Tom Cruise’s career.

If Cruise’s role was merely to support Hoffman’s campaign to win a second Oscar, he doesn’t act like it. He knew how good the role of Charlie was. He spent two years working on the script, starting back when he was promoting Top Gun in 1986. “What I gave him is the thing that he hasn’t often had the opportunity to do: work with a full character,” Levinson told Rolling Stone in 1989.

As Charlie, Cruise is a man constantly reminded of how he falls short, and there is no guarantee that he won’t carry on making the same mistakes after the credits roll. It is a complicated depiction of adulthood, whereas Flanagan’s magical turnaround in Cocktail — he marries Shue, agrees to be a father to his unborn child, and opens his own bar — is a child’s fairy tale.

If it’s been a while since you watched it, or you’ve never seen Rain Man , go do it now. My wife and I revisited it last week, and we barely noticed Hoffman. Meanwhile, we couldn’t stop laughing — or cringing — at Cruise. We hadn’t seen it since our two kids were born, and now it was impossible not to watch Rain Man as an allegory about the frustrations of parenthood. Charlie is not a parent; he’s merely tasked (by his own greed and resentment over essentially being cut out of his father’s will) with taking care of his brother. But his rage over, say, not being able to get his brother to board an airplane , in spite of deploying simple logic and facts , felt extremely familiar.

The central struggle of taking care of a person who can’t take care of themselves is over control. The dance between caregiver and care-receiver requires the giver to convince the receiver to acquiesce; this means the receiver is actually in the power position at all times, even when it appears that the opposite is so. No matter Rain Man ’s other deficiencies, particularly when judged according to modern sensibilities, the way the film depicts that dance still feels true.

Charlie Babbitt is Patient Zero for Cruise’s strongest subsequent performances, which all concern power in some way. Cruise plays men who want to command their surroundings, and can’t, thus causing all that imminently watchable turmoil. Ron Kovic can’t control his body. Cole Trickle can’t control his emotions behind the wheel. Lt. Daniel Kaffee can’t control his court case. Mitch McDeere can’t control his own life once it is infiltrated by the mob. Jerry Maguire can’t control Rod Tidwell. William Harford can’t control his wife’s sexual desires. Frank T.J. Mackey can’t control the TV reporter who is about to expose him.

And that need for control clearly resonates with Cruise in his real life. What could be the cause of his fixation on hard work? Could it be a desire to account for every possible outcome, to ensure that he never falls from his perch? Either way, all of that planning and plotting and persnickety obsessing has clearly paid off. If you can will yourself to run on a broken ankle, or carry on each time news breaks about the weirdness of your personal life, you can accomplish anything.

But nobody is perfect. For Cruise, Cocktail represented a loss of control — he couldn’t change the final product or prevent the short-term damage it caused to his reputation. But with Rain Man , he was able to channel his control-freak tendencies into a character who must accept that the arc of the universe is long but bends toward accepting that Wapner must be watched in five minutes.

By the end of 1988, Tom Cruise showed that he could sublimate himself on purpose . He turned powerlessness into a superpower.

Steven Hyden is the author of two books, including Twilight of the Gods: A Journey to the End of Classic Rock , out now from Dey Street Books. His writing has appeared in The New York Times Magazine , The Washington Post , Billboard , Pitchfork , Rolling Stone , Grantland , The A.V. Club , Slate , and Salon . He is currently the cultural critic at UPROXX and the host of the Celebration Rock podcast.

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From 1988: How Tom Cruise learned to be a flashy bartender

Actor interviewed dozens of pros to learn the craft of tending bar for cocktail.

Tom Cruise on his research for Cocktail

Social sharing.

Thirty years ago, Tom Cruise was already a bona fide movie star.

He'd already been seen on the big screen in The Outsiders , Risky Busines s, Top Gun and The Color of Money .

Broken bottles, fearful onlookers

"When I started out, I interviewed about 35 bartenders," said Cruise, explaining that he needed to be able to convincingly play a flashy, high-end bartender (which might be called a mixologist today).

Cruise said Cocktail  needed to be able to convince the audience that his co-star Bryan Brown was "the best bartender they've ever seen" and that Cruise's own character could then develop into a "star bartender" in his own right.

The mega-star admitted to breaking five bottles when filming and to losing a bet in the process. Brown broke only four, which left Cruise a bottle short of victory.

"Well, that's not bad because that's hard to do," Midday co-host Valerie Pringle told him.

"I was surprised. I thought I was going to break many more than that," Cruise said. "The people that were in front of me, though, were a little nervous when we were flipping the bottles."

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1988, Romance/Comedy, 1h 44m

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Critics Consensus

There are no surprises in Cocktail , a shallow, dramatically inert romance that squanders Tom Cruise's talents in what amounts to a naive barkeep's banal fantasy. Read critic reviews

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Cocktail videos, cocktail   photos.

Brian Flanagan (Tom Cruise) wants a high-paying marketing job, but needs a business degree first. Working as a bartender to pay for college, Flanagan is mentored by his veteran boss, Doug Coughlin (Bryan Brown). Together, their showy tricks and charisma command large crowds and tip payments -- until Flanagan and the cynical Coughlin have a falling out. Flanagan moves to Jamaica to raise enough money to open his own bar, where he falls in love with artist Jordan Mooney (Elisabeth Shue).

Genre: Romance, Comedy, Drama

Original Language: English

Director: Roger Donaldson

Producer: Robert W. Cort , Ted Field

Writer: Heywood Gould

Release Date (Theaters): Jul 29, 1988  original

Release Date (Streaming): Aug 10, 2016

Box Office (Gross USA): $77.3M

Runtime: 1h 44m

Distributor: Touchstone Pictures

Production Co: Touchstone Pictures, Interscope Communications

Sound Mix: Surround, Stereo

Cast & Crew

Brian Flanagan

Bryan Brown

Douglas 'Doug' Coughlin

Elisabeth Shue

Jordan Mooney

Laurence Luckinbill

Kelly Lynch

Kerry Coughlin

Gina Gershon

Roger Donaldson

Robert W. Cort

John Mellencamp

Original Music

J. Peter Robinson

Dean Semler

Cinematographer

Neil Travis

Film Editing

Donna Isaacson

John S. Lyons

Production Design

Art Director

Hilton Rosemarin

Set Decoration

Ellen Mirojnick

Costume Design

Heywood Gould

Screenwriter

News & Interviews for Cocktail

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Critic Reviews for Cocktail

Audience reviews for cocktail.

A classic that helped launch Tom Cruise's career. I have never seen this before but I really enjoyed it and I can see why many others also enjoyed it.

So hilariously bad I can't even explain it. There aren't words to describe how awful this is, but I think it's at least deliberately awful...there's no way anyone could've thought this wasn't going to be terrible while they were making it.

This is actually one of my favourite Tom Cruise films.

What has Mr Cruise done to blokes over the years huh. He made us all wanna join the military so we could play with fighter jets and have a cool nickname, play/hustle nine-ball for a living, be a NASCAR driver...but at one point he also made all men wanna become bartenders. The image...behind a slick neon lit bar, fast money and easy sex, who would say no?. Well the plot in this ever so 80's flick is a cocktail of drama in itself!. Kicks off as a loose dumb story about a young guy who learns to be a bartender and throws bottles around awful looking swanky yuppie/suit type bars. From there we get cheating, backstabbing and escapism to Jamaica where a soppy love story breaks out. More backstabbing follows as we proceed to more heartbreak and the involvement with older rich women, much more fun then. Yet more breakup, death of a friend and eventual makeup leading to the obvious happy ending. A veritable rollercoaster of a plot which is totally uninteresting and rather cringeworthy. Watching Cruise pose and strut around with his wide toothy grin and hair that can't decide to be straight or curly is somewhat painful at times. The bar scenes are really quite crap looking back, I remember how people thought this stuff was sooooo cool (laugh out loud!). The cast is also another odd cocktail of choice. Aussie Bryan Brown who never really made much of a splash in Hollywood is a bizarre choice. Whilst Shue was never very attractive in my book and hardly sells her character, so dreadfully vanilla and dull!! geez!!. Brown is just totally uncool and annoying whilst Shue is a wet fish. Add to that the constant flow of hyped over acting and mugging by Cruise...oh god it makes you wanna vomit in your Singapore Sling!. A film for the ladies I think as the only things that interested me was a few female arse shots and the thought of what life would be like as a sex toyboy for a rich middle aged business woman (I would of stuck it out). In places this film is very awkward to watch, bordering on embarrassing. So completely and utterly dated (in a bad way) and serves no purpose other than a history lesson on 80's social gatherings and what people thought was cool employment at the time. A time when Cruise's ego was sky high alongside his over acting, mind you what's new.

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How Old Was Tom Cruise in Cocktail

Tom Cruise is one of the most iconic actors in Hollywood, known for his roles in films such as Top Gun, Mission: Impossible, and Jerry Maguire. One of his most popular films is Cocktail, a 1988 romantic drama that follows the story of a young bartender named Brian Flanagan, played by Cruise, as he navigates the ups and downs of life in New York City.

One of the most common questions fans of the film have is, “How old was Tom Cruise in Cocktail?” Cruise was 26 years old when Cocktail was released in 1988. This was a pivotal time in his career, as he was transitioning from being a rising star to becoming a household name.

Here are 9 interesting facts about Tom Cruise and his role in Cocktail:

1. Tom Cruise trained extensively to play the role of Brian Flanagan. He spent months learning the art of bartending and even worked in a New York City bar to prepare for the role. Cruise wanted to fully immerse himself in the character and bring authenticity to his performance.

2. Cocktail was a box office success, grossing over $170 million worldwide. The film received mixed reviews from critics but was praised for Cruise’s charismatic performance and the chemistry between him and his co-star, Elisabeth Shue.

3. Tom Cruise performed many of his own stunts in Cocktail, including the famous “flair bartending” sequences. Cruise worked closely with professional bartenders to learn how to juggle bottles and glasses with precision and style. His dedication to mastering these skills added an extra layer of excitement to the film’s bar scenes.

4. Cruise’s character in Cocktail, Brian Flanagan, is a young and ambitious bartender who dreams of owning his own bar. The film explores themes of ambition, success, and the price of achieving one’s dreams. Cruise’s performance as Flanagan captured the character’s drive and determination, making him a relatable and compelling protagonist.

5. Cocktail features a memorable soundtrack, including the hit song “Kokomo” by The Beach Boys. The song became a chart-topping hit and is often associated with the film’s tropical and carefree vibe. The soundtrack added to the overall appeal of Cocktail and helped to enhance the film’s nostalgic charm.

6. Tom Cruise’s performance in Cocktail earned him a Golden Globe nomination for Best Actor in a Musical or Comedy. Cruise’s portrayal of Brian Flanagan was praised for its depth and complexity, showcasing his range as an actor beyond action roles. The nomination solidified Cruise’s status as a versatile leading man in Hollywood.

7. Cocktail was directed by Roger Donaldson, known for his work on films such as No Way Out and Thirteen Days. Donaldson’s direction brought a sense of energy and style to the film, capturing the vibrant nightlife of New York City in the 1980s. His collaboration with Cruise resulted in a visually striking and emotionally engaging film that resonated with audiences.

8. In addition to his acting skills, Tom Cruise’s physicality and charisma were key factors in his success in Cocktail. Cruise’s on-screen presence and charm captivated audiences, making him a magnetic leading man. His ability to command the screen and connect with viewers helped to elevate Cocktail from a standard romantic drama to a memorable and enduring film.

9. Tom Cruise’s performance in Cocktail marked a significant moment in his career, solidifying his status as a leading actor in Hollywood. The film showcased Cruise’s talent and versatility, paving the way for future successes in both dramatic and action roles. Cocktail remains a beloved film among fans of Cruise and is a testament to his enduring appeal as a movie star.

Now, let’s answer some common questions about Tom Cruise and his role in Cocktail:

1. How did Tom Cruise prepare for his role in Cocktail?

Tom Cruise trained extensively to play the role of Brian Flanagan, learning the art of bartending and working in a New York City bar to immerse himself in the character.

2. What was Tom Cruise’s age when Cocktail was released?

Tom Cruise was 26 years old when Cocktail was released in 1988.

3. Who directed Cocktail?

Cocktail was directed by Roger Donaldson, known for his work on films such as No Way Out and Thirteen Days.

4. What was the box office success of Cocktail?

Cocktail grossed over $170 million worldwide, making it a box office success.

5. Did Tom Cruise perform his own stunts in Cocktail?

Yes, Tom Cruise performed many of his own stunts in Cocktail, including the famous “flair bartending” sequences.

6. What was the soundtrack of Cocktail?

Cocktail featured a memorable soundtrack, including the hit song “Kokomo” by The Beach Boys.

7. Did Tom Cruise receive any award nominations for his role in Cocktail?

Yes, Tom Cruise received a Golden Globe nomination for Best Actor in a Musical or Comedy for his performance in Cocktail.

8. What were some of the themes explored in Cocktail?

Cocktail explored themes of ambition, success, and the price of achieving one’s dreams through the character of Brian Flanagan.

9. How did Tom Cruise’s performance in Cocktail impact his career?

Tom Cruise’s performance in Cocktail solidified his status as a leading actor in Hollywood, showcasing his talent and versatility beyond action roles.

In summary, Tom Cruise’s role in Cocktail was a pivotal moment in his career, showcasing his talent and versatility as an actor. Cruise’s dedication to preparing for the role and his charismatic performance as Brian Flanagan made Cocktail a memorable and enduring film. Cruise’s success in Cocktail helped solidify his status as a leading actor in Hollywood and paved the way for future successes in his career.

Related Posts:

Mixing It Up: Exploring the Iconic Cocktails from the Movie “Cocktail”

• developer on September 19, 2023

“Cocktail,” the 1988 romantic drama film directed by Roger Donaldson, is not just a classic of its time; it’s a celebration of mixology and the art of crafting the perfect cocktail. Starring Tom Cruise as the charming bartender Brian Flanagan, the film takes us on a journey through the world of bartending, love, and friendship. Along the way, it introduces us to several iconic cocktails that have since become staples in the world of mixology. In this article, we’ll delve into the delicious details of these cocktails, their history, and how you can recreate them at home.

The Red Eye

Our journey through the world of “Cocktail” begins with the Red Ey e, a simple yet refreshing cocktail. In the movie, Brian Flanagan (Tom Cruise) impresses his mentor Doug Coughlin (Bryan Brown) by making this drink for the first time.

Ingredients:

• 1 1/2 oz. vodka
• 1 oz. tomato juice
• 1 dash of hot sauce
• 1 dash of Worcestershire sauce
• Salt and pepper to taste

Instructions:

• Fill a shaker with ice.
• Add vodka, tomato juice, hot sauce, Worcestershire sauce, salt, and pepper.
• Shake well.
• Strain into a chilled glass filled with ice.
• Garnish with a lemon wedge and celery stick.

The Red Eye is a classic cocktail, often referred to as a “Bloody Mary Lite.” It’s perfect for those who enjoy the tangy flavors of tomato juice and a hint of spice.

The Woo Woo

Next up is the Woo Woo , a sweet and fruity cocktail that makes an appearance in the film during a beach party scene.

• 1/2 oz. peach schnapps
• 3 oz. cranberry juice
• Add vodka, peach schnapps, and cranberry juice.
• Strain into a chilled glass.
• Garnish with a lime wedge or a cherry.

The Woo Woo is a delightful and easy-to-make cocktail, making it a favorite at parties and gatherings.

The Jamaican Bobsled

The Jamaican Bobsled is another fun and tropical cocktail featured in the movie. It’s a colorful and flavorful drink that reflects the movie’s beachy vibes.

• 1 1/2 oz. white rum
• 1/2 oz. coconut cream
• 1/2 oz. blue curaçao
• 2 oz. pineapple juice
• Crushed ice
• Fill a blender with crushed ice.
• Add white rum, coconut cream, blue curaçao, and pineapple juice.
• Blend until smooth.
• Pour into a chilled glass.
• Garnish with a pineapple slice and a cherry.

The Jamaican Bobsled is a tropical paradise in a glass. Its vibrant blue color and refreshing flavors make it a hit at beach-themed parties.

• The Last Barman Poet

Named after Brian Flanagan’s poetic ambitions in the movie, The Last Barman Poet is a cocktail that represents the artistry and creativity of bartending.

• 1 1/2 oz. light rum
• 1/2 oz. lime juice
• 1/2 oz. simple syrup
• 1/2 oz. pineapple juice
• Lime twist for garnish
• Add light rum, blue curaçao, lime juice, simple syrup, and pineapple juice.
• Shake vigorously.
• Strain into a chilled martini glass.
• Garnish with a lime twist.

The Last Barman Poet is a cocktail that pays homage to the creativity and passion of bartenders. Its bright blue color and balanced flavors make it a true work of art.

The Flaming Dr. Pepper

In one of the film’s most memorable scenes, Brian Flanagan and Doug Coughlin introduce the audience to the Flaming Dr. Pepper , a daring and fiery cocktail that involves lighting the drink on fire before consuming it.

• 3/4 oz. amaretto liqueur
• 1/4 oz. high-proof rum (overproof)
• 1/2 glass of beer (lager)
• Pour the amaretto into a shot glass.
• Float the high-proof rum on top of the amaretto.
• Fill a beer glass halfway with beer.
• Carefully ignite the amaretto and rum in the shot glass.
• Drop the flaming shot glass into the beer glass.
• Blow out the flame, and drink the cocktail quickly through a straw.

The Flaming Dr. Pepper is not for the faint of heart, but it’s undoubtedly a showstopper at any gathering.

But here is more. Here is a list of cocktails that are either made, mentioned, or play a role in various scenes throughout the film:

• Bloody Mary
• Brandy Alexander
• The Righteous Bison
• Black Russian
• Jamaican Bobsled
• The Frozen Banana Daiquiri
• Planters Punch
• Irish Coffee
• Old-Fashioned
• Vodka Martini
• Amaretto Sour
• Screwdriver
• Tom Collins
• Dry Martini
• Flaming Dr. Pepper

The movie “Cocktail” may be a love story, but it’s also a love letter to the art of mixology and the delightful world of cocktails. Each of the cocktails featured in the film has its unique charm and flavor profile, making them a hit with fans and cocktail enthusiasts alike. Whether you’re sipping on a Red Eye, enjoying the tropical vibes of the Jamaican Bobsled, or daring to try the Flaming Dr. Pepper, these cocktails are a testament to the creativity and craftsmanship that go into the world of mixology. So, the next time you watch “Cocktail,” consider shaking up one of these iconic drinks to enhance your viewing experience.

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35 Years After Its Release, the Movie ‘Cocktail’ Shows Us How Far Drinks Culture Has Come

words: Rich Manning

illustration: Danielle Grinberg

In the lead up to the 95th Academy Awards, this week on VinePair we’re celebrating the starring role drinks have played in the most iconic movies in history. Read more about Drinking On Screen here .

“Cocktail” is not a good movie. Critics savaged the Tom Cruise vehicle when it hit theaters in 1988. It “won” Golden Raspberry Awards for Worst Movie and Worst Screenplay. Its current Rotten Tomatoes audience score of 58 percent suggests the public perceives the film as a mediocre slice of ‘80s cheese. Most people don’t really need to spend the $3.99 it currently costs to stream the movie. That is, most people.

If you’re in the drinks industry, or if you’re a fan of modern cocktail culture and the bartending industry that makes it possible, “Cocktail” is worth 1 hour and 43 minutes of your time. The movie hasn’t aged too well 35 years after its release, but that’s what makes it interesting. Time has caused “Cocktail” to evolve into a movie that you don’t watch as much as observe if you’re in the know about contemporary mixed drinks. If you simply watch it, it’s terrible. If you observe it, it’s oddly fascinating.

The Duality of ‘Cocktail’

When you stream “Cocktail” and become awash in the glow of its neon opening credits, you’ll naturally observe it through the knowing eyes of the modern bar scene. You already know that the drinks are going to suck and the techniques will be horrific, and they’ll be fun to mock as you sit there with your proper mixed drink made with real ingredients in hand. The movie indeed gives drinks aficionados ample fodder. Cruise’s Brian Flanagan and Bryan Brown’s Doug Coughlin may know how to toss a bottle over their shoulder or slam a Boston shaker onto a bar top in unison, but they don’t know drink specs or use jiggers, fruit juices, or pretty much anything that creates a balanced drink. They free pour every spirit, sometimes three bottles at once. When the movie shifts from New York to Jamaica and Doug asks Brian to make him a Daiquiri after bragging that he taught Brian everything he knows, Brian immediately reaches for a blender instead of a shaker. Granted, they’re in a tropical setting and you can easily predict that he’s going for the blender. But for those who know modern bartenders use the classic Daiquiri recipe as a litmus test of professional skill, this sequence is still cringeworthy, especially since the final result ends up looking like a Mudslide . These things turn the movie into something mildly horrific and slightly comedic, bloated with a bevy of bad beverages.

At some point, though, you’ll remember that “Cocktail” came out in 1988. It may be during the film, or it could be a few hours later when you’re reaching for a snack in the fridge. In some weird way, “Cocktail” provides a window into what the bar scene was like before the work of pioneers like Dale DeGroff, Audrey Saunders, Sasha Petraske, and Julie Reiner helped transform the industry for the better. Cocktail mixers and canned, frozen juices were the weapons of choice behind the stick back then. Craft spirits weren’t a thing, so options were limited at best. In the era’s context, Brian’s goal of franchising a bar chain for suburban shopping malls called Flanagan’s Cocktails and Dreams seems like a legitimate strategy, even if it petrifies our contemporary sensibilities. All of this is enough to make you drop to your knees and thank God and Jerry Thomas that you can enjoy cocktail culture in its present state.

We Need to Talk About Doug

Brian Flanagan is “Cocktail’s” protagonist. Yet Doug Coughlin is the more fascinating character. His jaded cynicism makes him a natural mentor for “young Flanagan,” as he calls Brian throughout the film. He appreciates the good stuff despite his penchant for flair. The last time he and Brian are seen together in the film, they’re working through his bottle of Louis XIII Cognac — a bottle that will set you back at least $3,000 today.

Doug is also problematic. His words of advice — occasionally self-referred throughout the film as “Coughlin’s Laws” — are awful nuggets of anti-wisdom that revolve around misogyny and treating customers like garbage. They sure as hell have nothing to do with making a good drink. Even though “Cocktail” is a work of fiction, it still seems like Petraske’s Rules were needed to cancel out Coughlin’s Laws.

In between his misbegotten mandates, Doug drops some knowledge that initially jumps out as falsehoods if you forget about the film’s context — particularly if you have even passing knowledge of New York City’s bar scene. When Doug says, “This is the Upper East Side, saloon capital of the world,” your brain may start screaming out the names of the critically acclaimed bars in the Lower East Side and Brooklyn.

At the time, however, Doug was spot on. In the ‘80s, the Upper East Side was absolutely the industry’s epicenter, a mélange of establishments that offered the beautiful and the monied ample choices to get their drink and dance on. The scene kept rolling strong through the ‘90s even as the clientele shifted from Wall Street types to the college crowd, thanks in part to gimmicks like cheesy, themed establishments and “ Ladies’ Night s.” Meanwhile, south-of-14th neighborhoods like the East Village and the Lower East Side wouldn’t start gaining acclaim for their bars until places like Angel’s Share and Milk & Honey opened, long after copies of “Cocktail” filled up video rental store shelves. Doug’s lines about the scene may have aged like a long-forgotten bottle of open cream liqueur, but it’s not his fault.

The Business of ‘Cocktail’

There are a few things in “Cocktail” that still hold up today. The beginning of the film showcases the type of money-waving, bar-top-slapping customers who still drive bartenders nuts. Brian’s character arc of a person who fell into the bar scene when other career ambitions fizzled still resonates. Toward the end of the movie, Jordan’s (Elisabeth Shue’s) dad essentially accuses Brian of being a loser because he’s a bartender (i.e., he doesn’t have a “real job”). Such classist viewpoints continue to exist.

The drinks, on the other hand, do not hold up. Most are relics of a time when creamy sweet concoctions with no base spirit and vodka drinks with dirty names dominated the scene. Taste is relative, of course, but if you tend to imbibe in spirit-forward drinks like the Boulevardier or Manhattan , it feels safe to assume that cocktails like the Orgasm, Velvet Hammer, and Friar Tuck will probably be of no interest to you.

There are a few oddities among the cocktails called out in the film. In an odd poem he recites in front of a crowd, Brian references a drink called the “Death Spasm.” One problem: No such drink seems to exist. Googling the drink brings up the Death in the Afternoon cocktail, a potent potable consisting of Champagne and absinthe (or pastis if absinthe isn’t available). It’s possible that Death Spasm was a stand-in for Death in the Afternoon so Brian could use a word that rhymed with orgasm.

Another quirk involves the Angel’s Tit cocktail. Ordering the drink when “Cocktail” came out in 1988 got you a creamy drink consisting of a two-to-one ratio of maraschino liqueur and cream. Ordering it today may get you something better, thanks to an ingenious tweak. Sometime in the 2010s, The Dry Cocktail founder Mikka Kristola updated the recipe when she was bartender at The Varnish in Los Angeles, adjusting the ratios to three-quarters of an ounce each and adding a bar spoon of both Heering Cherry liqueur and Fernet Branca .

Then there’s the Ding-a-Ling, a concoction featuring vodka, peach schnapps, and lemon-lime soda that’s mentioned twice in the film. Searching the drink today will produce images of a radically different beverage. That’s because author Simon Difford created his own cocktail called the Ding-a-Ling in 2022. It features  Del Maguey Vida mezcal , dark rum, Disaronno amaretto, and lemon juice. Judging by the specs, it seems much more interesting than the original.

A Unique Kind of Lasting Legacy

There’s one final observation to be made about “Cocktail” 35 years after its release. It has nothing to do with a crucial scene or a bit of dialogue. It’s an observation that can only be made after the fact. By the time the movie came out, the days of the cocktail bar landscape the movie depicted were already numbered.

In 1987, the year before “Cocktail” came out, DeGroff got behind the stick at the Rainbow Room and kicked off cocktail culture’s ongoing renaissance. It was a slow-growing seed that germinated at a deliberate pace, allowing the Doug Coughlins and Brian Flanagans of the industry a few more years of glory before the 2000s hit. There are still some Dougs and Brians behind the stick today, but they’ve been pushed into a space of far less prominence over the last two decades, thanks to a still-blossoming nationwide network of talented bartenders that give a damn about making a great drink and providing great service to their guests. This, then, may be the main reason why “Cocktail” is an oddly fascinating movie to observe 35 years after its release, even if it is a bad film to watch. It doesn’t necessarily show how bad the bar scene was back in the day as much as it shows how far it’s come.

Published: March 7, 2023

• 35 Years After Its Release, the Movie ‘Cocktail’ Shows Us How Far Drinks Culture Has Come | VinePair
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Screen Rant

36-year-old tom cruise movie with 9% on rotten tomatoes has the perfect remake cast after $216m hit.

One critically-panned box office hit from Tom Cruise is ripe for a remake, and the perfect cast can be found in the leads of 2023's rom-com success.

• Casting the leads from 2024's successful rom-com, Anyone but You, could elevate a remake of Tom Cruise's 1988 Cocktail movie.
• The success of 2024's Road House remake suggests modern remakes of divisive '80s classics can work today.
• Glen Powell's Top Gun role proves he could successfully replace Tom Cruise in a potential Cocktail remake.

With Road House (2024) paving the way for more modern remakes of cult classic ‘80s thrillers, the potential for Tom Cruise’s 1988 movie Cocktail to be remade could work better by casting the leads from 2023’s big rom-com success. The 1980s was an incredible decade for entries in the so-bad-they’re-good action/thriller subgenre , with movies like Patrick Swayze’s Road House failing to impress critics but remaining beloved for their lack of self-seriousness and entertainment value. The cast of 2024’s Road House remake maintains this sentiment in the remake of the 1989 film, with its divisive success making additional remakes of movies of this vein more likely.

While not as fondly remembered as Road House , another ‘80s hit that falls into this category is Tom Cruise’s 1988 movie Cocktail . The movie follows Cruise’s Brian Flanagan, a business student working as a successful bartender, whose relationships with his coworker Doug (Bryan Brown) and romantic interest Jordan (Elisabeth Shue) lead to a series of unexpected twists and turns. Though the film holds a meager 9% score on Rotten Tomatoes, it was a smash box office smash, earning $171.5 million against an estimated budget of $20 million (via Box Office Mojo ). Following Road House ’s success, it could finally be time to give Cruse's Cocktail the modern remake treatment .

Road House Proves Jake Gyllenhaal Is Perfect For Upcoming Reboot Of 30-Year-Old Jean-Claude Van Damme Action Movie

Glen powell & sydney sweeney would be perfect for a cocktail remake after anyone but you, the two actors could fill the shoes of tom cruise and elisabeth shue.

One crucial factor contributing to the success of Doug Liman’s 2024 Road House remake was its compelling lead cast, with action star Jake Gyllenhaal taking over Patrick Swayze’s character from the original while UFC champion Conor McGregor assumed the cartoonish villain role . Similar to Road House ’s remake requiring an actor with Swayze’s star power and charisma, a Cocktail remake would need an actor with comparable allure to ‘80s-era Tom Cruise for Brian Flanagan . Likewise, with Elisabeth Shue having been one of the biggest female stars of the ‘80s, a Cocktail remake would need an actress of similar popularity and appeal to step into the role of Jordan Mooney.

Anyone but You (2024) and Cocktail (1988) are available to rent or purchase from digital retailers like Amazon Prime Video and YouTube.

If Cocktail does get a remake, these casting requirements can easily be found in the leads of the 2023 hit movie Anyone but You . Though also divisive among critics, Anyone but You was a certified box office smash as it went on to earn over $216 million against a $25 million budget. In addition to a witty script and fun premise, much of Anyone but You ’s success can be attributed to the casting and chemistry of Glen Powell and Sydney Sweeney as the two romantic leads. In 2024, Powell and Sweeney aren’t too off from the cards that Cruise and Shue brought to the table back in 1988 for Cocktail .

Much of Anyone but You ’s success can be attributed to the casting and chemistry of Glen Powell and Sydney Sweeney as the two romantic leads.

Powell already had rom-com experience with films like Set It Up ahead of Anyone but You , but made a bigger name for his action roles in movies such as Top Gun: Maverick , Devotion , Hit Man , and, now, the upcoming Twisters sequel movie . Meanwhile, Sweeney has proven widely popular with audiences after her roles in Euphoria , The White Lotus , and Immaculate , and both actors prove increasingly bankable with each new release. With the original Cocktail movie’s negative critical and audience response making it ripe for improvement , Powell and Sweeney could provide the star power a remake would need to successfully adapt the same-named 1984 novel.

Sydney Sweeney's New Record-Breaking Movie Confirms Her Box Office Dominance (Just Ignore THAT Movie)

Remaking cocktail sounds better than anyone but you 2 for powell & sweeney, anyone but you doesn't need a direct sequel.

Following the success Anyone but You , Sweeney and Powell announced they were reading scripts and searching for their next collaboration together. While some have thrown around the idea of returning to Bea and Ben’s story with a potential Anyone but You 2 movie , the original movie being based on Shakespeare’s Much Ado About Nothing makes a sequel unnecessary. Rather, it seems more likely that Powell and Sweeney’s “sequel” will be a completely different film that pairs them as romantic leads.

It seems more likely that Powell and Sweeney’s “sequel” will be a completely different film that pairs them as romantic leads.

This was a common tactic for 1990s romantic comedies, which would see romantic leads like Tom Hanks and Meg Ryan or Julia Roberts and Richard Gere reunite in another rom-com instead of making a direct sequel to their past success. Consequently, with Sweeney and Powell searching for their next film collaboration, a remake of Cocktail could provide a fitting follow-up to Anyone but You . With Powell playing Brian and Sweeney playing Jordan, the duo would just need to find a new Doug to enhance their existing chemistry, potentially creating the perfect recipe to improve upon Cruise’s original movie.

Road House 2024's Success Proves Remakes Of Divisive '80s Thrillers Can Work Today

The bar is set lower, but it needs to maintain '80s movie's tone.

Remakes of 1980s hits don’t always work out, with some proving to be unnecessary if the original was already a hit and a product of its time. However, there are some notable exceptions, with Amazon’s 2024 Road House movie being one of them. The Road House remake’s Rotten Tomatoes score is already better than the 1989 original (59% compared to 43%), and smashed records for Prime Video’s movie premiere viewership numbers to prove its popularity among audiences. Though many fans of the original may reasonably remain more loyal to Swayze’s 1989 iteration, it’s difficult to deny the entertainment value and success of the remake.

Considering Cocktail has a much less beloved reputation than 1989’s Road House , remaking the Tom Cruise film isn’t apt to come with as much apprehension or high expectations. With an already divisive original movie, there isn’t as big of a risk of “ ruining ” the original, as the bar is relatively lower when aiming to improve upon certain aspects of the first film that didn’t initially land with critics and audiences. Of course, with cult classics, it helps if the remake maintains the tone of the original, such as 2024’s Road House protecting the campiness and lack of self-seriousness of the 1989 film.

Top Gun: Maverick Highlights How Glen Powell Could Replace Tom Cruise's Brian In Cocktail

Powell and cruise's characters share similar qualities in top gun.

A potential Cocktail remake wouldn’t be the first time that Glen Powell has stepped into an ‘80s-based Tom Cruise property. Powell starred in Cruise’s 2022 hit Top Gun: Maverick as Hangman , who served a role similar to Val Kilmer’s Iceman from the 1986 original movie. Consequently, it’s already clear that Powell has qualities similar to Cruise in that era, which would make him taking over a character that Cruise originated easier to grasp.

The greatest way to make [a Cocktail remake] more enticing would be to get Tom Cruise to return as well.

Similar to Hangman or Maverick, a character like Brian Flanagan has an air of cockiness and confidence that contrasts with his need to prove himself. Powell’s past movies have demonstrated that he could take on this type of character successfully, having to balance the cockiness and heroism of his Top Gun character with the earnestness and rom-com lead chops of his Anyone but You role. While Powell and Sweeney potentially starring in a Cocktail remake would already give it a leg up, the greatest way to make it more enticing would be to get Tom Cruise to return as well.

Source: Box Office Mojo

Anyone But You

Anyone But You is a romantic comedy by director Will Gluck starring Sydney Sweeny and Glen Powell. Sweeny and Powell star as Bea and Ben, two strangers with an incredible first date that goes sour following one incident at the tail end. Thinking the worst is behind them, the two are roped into a destination wedding in Sydney, Australia, where they'll have to pretend to be a couple despite absolutely hating each other.

Actor Tom Cruise is the star of several box-office hits, including Risky Business , A Few Good Men , The Firm , Jerry Maguire , and the Mission: Impossible franchise.

Who Is Tom Cruise?

Thomas Cruise Mapother IV, better known as Tom Cruise, was born on July 3, 1962, in Syracuse, New York, to Mary and Thomas Mapother. Cruise's mother was an amateur actress and schoolteacher, and his father was an electrical engineer. His family moved around a great deal when Cruise was a child to accommodate his father's career.

Cruise's parents divorced when he was 11, and the children moved with their mother to Louisville, Kentucky, and then to Glen Ridge, New Jersey, after she remarried. Like his mother and three sisters, Cruise suffered from dyslexia, which made academic success difficult for him. He excelled in athletics, however, and considered pursuing a career in professional wrestling until a knee injury sidelined him during high school.

At age 14, Cruise enrolled in a Franciscan seminary with thoughts of becoming a priest, but he left after a year. When he was 16, a teacher encouraged him to participate in the school's production of the musical Guys and Dolls . After Cruise won the lead of Nathan Detroit, he found himself surprisingly at home on the stage, and a career was born.

'Taps,' 'The Outsiders'

Cruise set a 10-year deadline for himself in which to build an acting career. He left school and moved to New York City, struggling through audition after audition before landing an appearance in 1981's Endless Love , starring Brooke Shields. Around this same time, he snagged a small role in the military school drama Taps (1981), co-starring Sean Penn .

His role in Taps was upgraded after director Harold Becker saw Cruise's potential, and his performance caught the attention of a number of critics and filmmakers. In 1983, Cruise appeared in Francis Ford Coppola 's The Outsiders , which also starred Emilio Estevez , Matt Dillon and Rob Lowe —all prominent members of a group of young actors the entertainment press dubbed the "Brat Pack." The film was not well received, but it allowed Cruise to work with an acclaimed director on a high-profile project.

'Risky Business'

His next film, Risky Business (1983), grossed $65 million. It also made Cruise a highly recognizable actor — thanks in no small part to a memorable scene of the young star dancing in his underwear.

In 1986, after a two-year hiatus, the budding actor released the big-budget fantasy film Legend , which did poorly at the box office. That same year, however, Cruise's A-list status was confirmed with the release of Top Gun , which co-starred Kelly McGillis, Anthony Edwards and Meg Ryan . The testosterone-fueled action-romance, set against the backdrop of an elite naval flight school, became the highest-grossing film of 1986.

'The Color of Money,' 'Rain Man' and 'Born on the Fourth of July'

Cruise followed the tremendous success of Top Gun with a string of both critically acclaimed and commercially successful films. He first starred in The Color of Money (1986) with co-star Paul Newman , and then went on to work with Dustin Hoffman on Rain Man (1988). Cruise's next role, as Vietnam veteran Ron Kovic in the biopic Born on the Fourth of July (1989), earned him an Academy Award nomination and a Golden Globe for Best Actor.

'A Few Good Men,' 'The Firm' and 'Interview with a Vampire'

In 1992, Cruise proved once more that he could hold his own opposite a screen legend when he co-starred with Jack Nicholson in the military courtroom drama A Few Good Men . The film grossed more than $15 million its first weekend and earned Cruise a Golden Globe nomination. He continued to demonstrate his success as a leading man with The Firm (1993) and Interview with a Vampire (1994), which co-starred Brad Pitt.

'Mission: Impossible,' 'Jerry McGuire'

Next, Cruise hit the big screen with two huge hits—the $64 million blockbuster Mission: Impossible (1996), which the star also produced, and the highly acclaimed Jerry McGuire (1996), directed by Cameron Crowe. For the latter, Cruise earned a second Academy Award nomination and Golden Globe for Best Actor.

'Eyes Wide Shut,' 'Magnolia'

Cruise and then-wife Kidman spent much of 1997 and 1998 in England shooting Eyes Wide Shut , an erotic thriller that would be director Stanley Kubrick 's final film. The movie came out in the summer of 1999 to mixed reviews, but that year Cruise enjoyed greater success with the release of Magnolia . His performance as a self-confident sex guru in the ensemble film earned him another Golden Globe Award and an Academy Award nomination for Best Supporting Actor.

'Vanilla Sky,' 'The Last Samurai'

Cruise then starred in the long-awaited smash hit Mission: Impossible 2 in 2000, alongside Anthony Hopkins , Thandie Newton and Ving Rhames. In 2002, he starred in Vanilla Sky , his second collaboration with Crowe, as well as Steven Spielberg 's Minority Report . The following year, Cruise traveled to Australia to shoot the $100 million war epic The Last Samurai, which earned him another Golden Globe nomination.

'War of the Worlds'

Cruise proved he remained a top draw by starring in the Spielberg-directed remake of the science-fiction classic War of the Worlds (2005), which grossed more than $230 million at the box office.

His next effort, Mission: Impossible 3 (2006), also scored well with audiences. However, Cruise was faced with a professional setback in August when Paramount Pictures ended its 14-year relationship with the actor. The company's chairman cited Cruise's erratic behavior and controversial views as the reason for the split, though industry experts noted that Paramount more likely ended the partnership over Cruise's high earnings from the Mission: Impossible franchise.

Cruise quickly rebounded and on November 2, 2006, he announced his new partnership with film executive Paula Wagner and the United Artists film studio. Their first production as a team, the political drama Lions for Lambs (2007), proved a commercial disappointment despite a strong cast that included Meryl Streep and Robert Redford .

'Tropic Thunder'

Taking a break from weighty material, Cruise delighted audiences with his performance in the comedy Tropic Thunder (2008). Despite his relatively small role in a movie that featured Robert Downey Jr. and Ben Stiller , Cruise stood out by obscuring his trademark good looks to play a balding, obese movie studio executive.

'Valkyrie,' 'Rock of Ages'

In December 2008, Cruise released his second project through United Artists. The film, Valkyrie , was a World War II drama about a plot to assassinate German leader Adolf Hitler . Cruise starred as a German army officer who became involved in the conspiracy.

Cruise returned to one of his most popular franchises in 2011 with Mission: Impossible—Ghost Protocol . Breaking into new territory, he then starred in the 2012 musical Rock of Ages . Although Cruise received some positive reviews for his performance as a rock star, the movie failed to attract much of an audience.

'Jack Reacher,' 'Edge of Tomorrow'

Returning to his mainstream action roots, Cruise starred in the 2012 crime drama Jack Reacher , based on a book by Lee Child. He then headlined a pair of science-fiction adventures, Oblivion (2013) and Edge of Tomorrow (2014). Showing no signs of slowing down, the veteran actor in 2015 delivered his usual high-energy performance for the fifth installment of his blockbuster franchise, Mission: Impossible—Rogue Nation .

Latest Movies and Familiar Franchises

In 2016, Cruise reprised the role of Jack Reacher for Never Go Back . He then headlined a reboot of The Mummy (2017), which performed respectably at the box office but was savaged by critics, before earning better reviews later that year for the crime thriller American Made .

2018 brought a return to familiar territory for Cruise, who starred in Mission Impossible —Fallout that summer. Prior to its release, he tweeted a photo to mark day 1 of production on the long-awaited sequel Top Gun: Maverick , scheduled for a June 2020 release.

Scientology and Personal Life

Cruise married actress Mimi Rogers in 1987. It was through Rogers that the actor became a student of Scientology, the religion founded by writer L. Ron Hubbard. Cruise credited the church with curing his dyslexia, and he soon became one of its leading proponents. However, while his spiritual life flourished, his marriage to Rogers ended in 1990. That same year, Cruise made the racecar drama Days of Thunder alongside Kidman. Though the movie was unpopular among critics and fans alike, the two lead actors had real chemistry. On Christmas Eve 1990, after a brief courtship, Cruise and Kidman married in Telluride, Colorado.

Divorce from Kidman

For much of the 1990s, Cruise and Kidman found themselves fiercely defending the happiness and legitimacy of their marriage. They filed two different lawsuits against tabloid publications for stories they considered libelous. In each case, the couple received a published retraction and apology, along with a large monetary settlement which they donated to charity. The couple has two children, Isabella and Connor.

On February 5, 2001, Cruise and Kidman announced their separation after 11 years of marriage. The couple cited the difficulties involved with two acting careers and the amount of time spent apart while working. Following the divorce, Cruise briefly dated his Vanilla Sky co-star Penelope Cruz , followed by a much-publicized relationship with actress Katie Holmes. A month after his ties to Holmes became public, Cruise professed his love for the actress in a now-famous appearance on The Oprah Winfrey Show, during which he jumped on Winfrey's sofa, shouting "Yes!"

Marriage to Katie Holmes

In June 2005, after a two-month courtship, Cruise proposed to Holmes in a restaurant at the top of the Eiffel tower. In October, they announced that they were expecting their first child together. The hasty proposal and surprise pregnancy quickly became tabloid gossip. But Cruise made even bigger headlines that year as an outspoken advocate for Scientology. He openly criticized former co-star Brooke Shields for using anti-depressants during her recovery from postpartum depression. He also denounced psychiatry and modern medicine, claiming Scientology held the key to true healing. Cruise's statements led to a heated argument with news anchor Matt Lauer on The Today Show in June 2005, for which Cruise later apologized.

In 2006, Cruise and Holmes welcomed daughter Suri into the world. That year, they were married in an Italian castle, with celebrities Will Smith , Jada Pinkett Smith , Jennifer Lopez and Victoria and David Beckham among those in attendance. However, the storybook romance wouldn't last, and in June 2012, the couple announced their separation.

QUICK FACTS

• Birth Year: 1962
• Birth date: July 3, 1962
• Birth State: New York
• Birth City: Syracuse
• Birth Country: United States
• Gender: Male
• Best Known For: Actor Tom Cruise is the star of several box-office hits, including 'Risky Business,' 'A Few Good Men,' 'The Firm,' 'Jerry Maguire' and the 'Mission: Impossible' franchise.
• Astrological Sign: Cancer

We strive for accuracy and fairness.If you see something that doesn't look right, contact us !

CITATION INFORMATION

• Article Title: Tom Cruise Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/actors/tom-cruise
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: March 26, 2021
• Original Published Date: April 3, 2014

The Biography.com staff is a team of people-obsessed and news-hungry editors with decades of collective experience. We have worked as daily newspaper reporters, major national magazine editors, and as editors-in-chief of regional media publications. Among our ranks are book authors and award-winning journalists. Our staff also works with freelance writers, researchers, and other contributors to produce the smart, compelling profiles and articles you see on our site. To meet the team, visit our About Us page: https://www.biography.com/about/a43602329/about-us

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Ansel Elgort;Lily James

March has given way to April, meaning that award season is over and the entertainment industry is shifting its focus to the summer movie season. But with last year’s strikes forcing studios to roll out an abbreviated slate of new releases this summer, cinephiles might be relying on streaming services more than ever before to scratch their moviegoing itch.

Fortunately, Netflix has announced a robust collection of additions to its library that should keep film lovers of all stripes busy this month. The highest profile original release is “Rebel Moon — Part Two: The Scargiver,” which is set to conclude the epic space opera storyline that Zack Snyder began in the first “Rebel Moon” movie. It’ll be accompanied by an eclectic mix of classic films from directors including Spike Lee, George Lucas, Nora Ephron, and Edgar Wright.

Keep reading for our seven favorite movies heading to Netflix this month.

‘Baby Driver’ (Streaming Now)

Edgar Wright’s distinct cocktail of action, humor, whimsical camerawork, and electrifying soundtracks have never been better suited to a canvas than ‘Baby Driver.’ The 2017 blockbuster stars Ansel Elgort as a lightning fast getaway driver whose tinnitus requires him to listen to music at all hours of the day.

The story of a criminal looking to earn his release from the underworld with one last job has been told time and time again, but Wright elevates the premise into something truly special with his intricately choreographed car chase sequences, each one paired with a carefully selected rock song. Seven years after its release, ‘Baby Driver’ remains a shining symbol of what’s possible when a visionary filmmaker gets the right resources to support their aims.

‘You’ve Got Mail’ (Streaming now)

Nora Ephron’s 1998 riff on ‘The Shop Around the Corner’ was the final onscreen pairing (so far!) of everyone’s favorite ’90s rom-com couple, Tom Hanks and Meg Ryan.

The sweet film follows Ryan as an independent bookstore owner who develops an anonymous online romance with the corporate titan who is trying to drive her out of business. Even if the story is predictable and sentimental, the film remains a perfect slice of ’90s nostalgia and an unintentionally funny reminder of how quaint the internet used to be.

‘Born on the Fourth of July’ (Streaming now)

Tom Cruise’s Oscar-nominated role as disabled Vietnam veteran-turned-activist Ron Kovic is still remembered as one of the best pure acting performances of the movie star’s career. Oliver Stone’s political biopic was seen by many as a continuation of the antiwar themes he began exploring in ‘Platoon,’ and remains a high point of his divisive career. As Cruise continues to drop hints about eventually pivoting towards more serious roles when his blockbuster career winds down, ‘Born on the Fourth of July’ is a great reminder of what he’s capable of.

‘The Matrix’ Collection (Streaming now)

The movie that changed Hollywood filmmaking forever recently celebrated its 25th anniversary, and the Wachowskis’ landmark blockbuster remains as groundbreaking as ever. The language and iconography of ‘The Matrix’ has permeated pop culture on such a deep level that it’s easy to forget how thrilling the film is as a standalone work, and its sequel ‘The Matrix Reloaded’ remains an underrated franchise entry. With news that Warner Bros. is prepping a fifth ‘Matrix’ film , it’s a great time to revisit the original trilogy when they come to Netflix this month.

‘Inside Man’ (Streaming now)

Spike Lee’s filmography is an eclectic mix of decade-defining masterpieces, misunderstood gems that were ahead of their time, and some wildly ambitious flops. But ‘Inside Man’ stands out as the most commercial crowd-pleaser of his career. Denzel Washington stars as an elite NYPD hostage negotiator working alongside Jodie Foster’s political fixer as they attempt to defuse a tense hostage situation after a Wall Street bank robbery goes awry.

While the film never swings for the artistic highs of Lee’s other films, it’s proof of his endless versatility and remains one of the best Sunday afternoon rewatches of all time.

‘Rebel Moon — Part Two: The Scargiver’ (Streaming April 19)

At this point, everyone knows whether they’re the target audience for a new Zack Snyder movie. The polarizing blockbuster filmmaker is unlikely to attract any new devotees for the second half of his sprawling original space opera, but ‘Rebel Moon — Part Two: The Scargiver’ will be a major event for his legions of hardcore fans. Picking up where the first film left off on planet Veldt, the story of intergalactic rebellion is the highest profile original film Netflix will release this month. 

‘American Graffiti’ (Streaming now)

Before he set his eyes on a galaxy far, far away, George Lucas looked back on his California adolescence with this classic ensemble piece about teenagers cruising on the last night of summer.

‘American Graffiti’ was groundbreaking for introducing a wave of 1950s nostalgia that came to dominate American pop culture in the 1970s and 80s, paving the way for hits like ‘Happy Days’ and ‘Grease.’ But even without that context, it stands out as a quintessential coming-of-age story that shows Lucas’ genuine filmmaking talent was never limited to his blockbuster projects. Plus it launched the acting career of Harrison Ford, who went on to re-team with Lucas once or twice…

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IMDbPro Starmeter 77 12

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• 64 wins & 119 nominations total

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• Tomu Kurûzu
• 5′ 7″ (1.70 m)
• July 3 , 1962
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• Spouses Katie Holmes November 18, 2006 - August 20, 2012 (divorced, 1 child)
• Children Isabella Jane Cruise
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• Other works Played Nathan Detroit in a high school production of "Guys and Dolls"
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• Trivia His acting idol is Paul Newman . Much to the delight of Cruise, they became good friends during work on The Color of Money (1986) . Newman got him into racing, and Cruise ultimately raced on his team.
• Quotes The thing about filmmaking is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own checks, be responsible.
• Trademarks Often plays romantic leading men with an edge
• Salaries Mission: Impossible - Dead Reckoning Part Two ( 2025 ) $13,000,000 + % of back end
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