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Cocktail 1988

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A young, ambitious New York bartender becomes the toast of Manhattan's Upper East Side. But when he moves to Jamaica and finds true love, he gains a new perspective on his life.

Cocktail

Cocktail (1988)

• Tom Cruiseas Brian Flanagan
• Bryan Brownas Doug Coughlin
• Elisabeth Shueas Jordan Mooney
• Lisa Banesas Bonnie
• Laurence Luckinbillas Mr. Mooney

Directed by

Produced by

Screenplay by

Photographed by

Music by

"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.

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Cocktail (1988)

TOMATOMETER

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.

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.

AUDIENCE SCORE

Critic 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.

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News & Interviews for Cocktail

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Critic Reviews for Cocktail

Cocktail is a bottle of rotgut in a Dom Perignon box.

The pairing of old-hand Brown and young-hand Cruise may have been meant to remind us of Cruise and Paul Newman; if so, think of this as The Color of Counterfeit Money.

It may not be a megaton bomb, but Cocktail is definitely of the Molotov type.

Very, very stupid.

Cruise is beguiling with his smile and his swagger, but the script doesn't take us anywhere fresh when it leaves the barroom.

This vacant, misshapen film is basically an extended beer commercial that presents the world as a ludicrous place populated by sex-and-cash-and-booze-crazed zomboids. Cruise, meanwhile, comes off as a somewhat taller Spuds MacKenzie.

Perhaps the best one can say for this bland concoction mixed by agents and the studio executives is that every bartender in Hollywood wants to be Tom Cruise and that suffices as an ironic subtext.

The philosopher Hannah Arendt once wrote a book about the banality of evil. After seeing Cocktail, I want to write one about the evil of banality.

If they gave you this in a bar, you'd send it back.

With no fewer than 17 of Donaldson's favorite rock songs and a complete lack of dramatic impetus, Cocktail would fare better as an extended-play music video.

If some other drug were treated this way in a movie, lots of outraged people -- including parents and politicians -- would be up in arms. But it's only alcohol, the reasoning seems to go, so it's all harmless fun.

Cruise oozes as much charm as in Top Gun and The Colour of Money, but the mix of bar-acrobatics and Caribbean love isn't anywhere near strong enough to get you drunk.

Audience Reviews for Cocktail

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.

It's always an eye opening experience when you enjoy a film that you know you should hate. Such is the self hatred roller coaster of Cocktail, a very basic and uninspiring premise, also poorly executed, but way too much fun with its camp and cast of characters to incite the usual villagers with torches effect. Yes, the eighties were an especially grotesque time for cinema, including sex fueled debauchery, consumerism going hand in hand with Reagan economics, and some mind altering soundtracks and scores, all synth, all the time. Cocktail gravitates towards these pitfalls with great ease, but never quite makes it into awful, mostly because of the intriguing cast. The plot itself is nauseating, starting off as a great story of a bartender following his dream of wealth and power. Instead of climbing the ladder, or at least cultivating a "there's more to life than money" mentality, our protagonist becomes ever more unlikable, a lady's man so in your face it's an ugly portrayal. Somehow we bounce between New York City and Jamaica, but not in a timeline that makes any sense, including a romance with Elisabeth Shue's character. It's because Tom Cruise can pull off cocky in almost all roles, and Shue is the obliged girl next door, that this is a cult success. Even though the story, with all the rags to riches mentality, but none of the follow through, is based on Cruise's character, it just isn't juicy enough for the audience. There's so much materialistic buildup from our hero, that his subsequent behavior and that of the other characters is sickening, especially Shue's. Still, anything with Cruise in the eighties includes an eyeful of neon and that quirky grin, which is enough for any woman with an open mind.

One of the best romantic films ever made. I'm in love with this film and Tom Cruise was exceptional.

What a waste of talent, I hated it.

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Cocktail

Cocktail (1988)

• Tom Cruiseas Brian Flanagan
• Bryan Brownas Doug Coughlin
• Elisabeth Shueas Jordan Mooney
• Lisa Banesas Bonnie
• Laurence Luckinbillas Mr. Mooney

Directed by

Produced by

Screenplay by

Photographed by

Music by

"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.

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Cocktail

Directed by

Produced by

Cinematography by

Distributor

Running time

Gross revenue

Cocktail is a 1988 romantic drama film released by Touchstone Pictures. Directed by Roger Donaldson, the film is based on the book of the same name by Heywood Gould, who also wrote the screenplay. It stars Tom Cruise as a talented and ambitious bartender who aspires to working in business and finds love with Elisabeth Shue while working at a bar in Jamaica. The original music score was composed by Maurice Jarre.

After leaving the United States Army and moving to New York City, Brian Flanagan (Tom Cruise) gets a part-time job as a bartender at night while studying for a business degree (which he needs to get a job in marketing). At first, Brian is a terrible bartender, revealed in a montage of his screw ups. Over time, he learns the tricks of the trade including flairing from his boss/mentor Doug Coughlin (Bryan Brown). Brian and Doug soon become very close; Doug readily assumes a mentor role over the young and naive Brian, and rains advice and opinions down upon him. His advice takes a familiar structure as he usually begins most of them with "Coughlin's Law". An example of his expert advice, which actually turns out to be quite poignant, is "Coughlin's Law: Drink or be gone!" Other pearls include: "Bury the dead, they stink up the joint." and "Anything else is always something better."

While Brian has high personal aspirations, Doug is leery of the notion of starting their own bar together. Doug intends to call his bar "Cocktails & Dreams".

Eventually, Brian and Doug's bar-tending act becomes popular and they end up working at a trendy nightclub catering to New York City's wealthy and elite, the type of establishment where yuppies spout poetry from the top of the rafters for all patrons to hear. As their popularity rises, Brian becomes the focus of attention from a sultry brunette named Coral (Gina Gershon). Quickly, they elevate their friendship into a wild sexual relationship. During a free throw shooting competition where Brian hits five free throws in a row, Doug bets him Coral will leave him by week's end, essentially doubting there is anything special about the seemingly perfect relationship shared between the two. Unbeknownst to Brian, Doug lies to Coral about secrets being shared by Brian about her, and secures his bet having sex with Coral. Brian is very upset and fights with Doug at work, essentially ending his informal partnership with Doug.

Brian, taking advice from his former girlfriend, takes a job in Jamaica as a bartender to raise money for his own place. He finds a romantic partner in Jordan Mooney (Elisabeth Shue). Jordan is an aspiring artist and waitress in New York City. She and Brian spend romantic times together, playing in the water, before making passionate love on the beach by a campfire. Prior to this however, Doug has shown up in Jamaica, now married to Kerry (Kelly Lynch), a wealthy woman who openly flirts with other men and wears Tarzan-like bikinis. Doug quickly asserts himself and bets Brian to be the first to sleep with a barfly named Bonnie (Lisa Banes), a wealthy older woman. Jordan catches Brian without being seen and, devastated, takes an overnight plane back home.

With Jordan flying back to New York City, Brian decides to "upstage" Doug and return to Manhattan with the cougar-esque Bonnie under the auspices that he will be placed high up in her company due to their romantic attachment. Brian becomes impatient as the pay-off is too slow. They have a blow-up during an art exhibition where Brian gets into a fight with the artist. As they cut ties, Brian, displaying wisdom one can only assume has been gleaned from his former mentor, states: "All things end badly. Otherwise they wouldn't end!"

Brian then seeks out Jordan. Much to his surprise, Brian learns that she is pregnant with his child. He embarks on a journey to win over the independent Jordan and prove to her that, despite being just a lowly bartender, he would make a worthy father. While pursuing Jordan, Brian also learns that her family is very wealthy, and he goes to her parents' Park Avenue penthouse to speak with Jordan. Unhappy with the situation, Jordan's father, Richard (Laurence Luckinbill), attempts to buy Brian off. Brian is forced to decide between the money offered which would surely help him get his bar started versus a life with Jordan and his child; Brian refuses the money. Jordan keeps her distance, not wanting to be hurt again.

Brian meets up with Doug. Despite the outward appearance of wealth, Doug confides that his wife's money is nearly gone, lost in the commodities market. Doug is despondent, unwilling to confess to his bride the precarious position they are in; Brian is completely shocked. Later on, Kerry makes Brian take her home when Doug is too drunk to do so, and forces him to walk her to her apartment. She tells him that he is the only person Doug respects and wants to discuss with him Doug's problems. However once inside, she attempts to seduce him by kissing him but Brian refuses out of respect for his friendship with Doug. Kerry gets angry at being rejected and reveals that she cannot endure sexual monogamy for the rest of her life. Brian then leaves with Kerry calling him a coward. Brian goes to check on Doug in his yacht, and discovers he has committed suicide by slashing his throat with a broken bottle of Remy Martin Louis XIII / Baccarat crystal glass. After the funeral, Kerry sends Brian a letter left for him by Doug, which is revealed to be Doug's suicide note in which he explains why he did what he did. Brian cries after reading the letter, realizing that Doug killed himself because he realized that his life was a sham.

Now reeling from the misfortune of the stiff-arm from Jordan and losing his best friend to suicide, he goes to Richard's home (where Jordan is staying) and begs her forgiveness. He further promises to take good care of her and their unborn child. Brian has a brief scuffle with Richard's staff, then takes the willing Jordan by the hand and heads for the door. They leave together, finally, as a couple and future parents. Richard pledges not to lend a dime to the fledgling couple. Using the advice of the other mentor in his life, his Uncle Pat (Ron Dean), Brian is able to finally achieve his lifelong goal, he opens a neighborhood bar called "Flanagan's Cocktails & Dreams". Brian and Jordan have their wedding reception at the new bar while Jordan is visibly pregnant. Just before the credits roll, Jordan reveals she is pregnant with twins. Brian offers free drinks to celebrate, much to his Uncle Pat's chagrin.

Box office and reception

Cocktail was a financial success, earning $78.2 million at the box office, and $93.3 million globally to a total of $171.5 million worldwide.

Despite the film's success, the film received mostly negative reviews from critics and won two Golden Raspberry Awards for Worst Picture and Worst Screenplay while Tom Cruise was nominated as Worst Actor and Roger Donaldson as Worst Director. Rotten Tomatoes gives Cocktail a 9% "rotten" rating based on 22 reviews.

The Last Barman Poet.

Here’s the famous poem recited by Tom Cruise in the movie Cocktail. I think there must be more bartenders inspired by this movie (as much as it is a bit of a guilty pleasure and cheesy as hell) than any other – I know that I didn’t see it until I was already flairing, but I’m in the minority. I just had to know why everyone kept calling me Tom Cruise. I’ve linked to as many of the drinks in the poem as I can find recipes for, if you have one of the missing ones (or you want to create something!) please let me know in the comments! Lets complete this collection! 🙂

I am the last barman poet.

I see America drinking the fabulous cocktails I make.

Americans getting stinky on something I stir or shake.

The sex on the beach, the schnapps made from peach,

I make things with juice and froth: the Pink Squirrel, the 3-Toed Sloth. I make drinks so sweet and snazzy:

America you’ve just been devoted to every flavor I got.

But if you want to got loaded,

why don’t you just order a shot?

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Cocktail

Tom Cruise doing what he does best.

Robert Greenberg (II)

Sandra Will Carradine

E. Hampton Beagle

Writer: Heywood Gould

Producers: Jeffrey Bydalek

Daniel J. Heffner

Studio: Buena Vista Pictures

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"Cocktail" or 'Top Glass' is the kind of movie you'd be more than happy to see on an idle Tuesday afternoon, or on the day you begin your summer vacation. Either way, there's no denying that it's a cult classic, an intoxicating concoction in itself; mixed with some decent acting, a catchy soundtrack and people mooching around trying to be cool, it's principal issues revolve around the pursuit of wealth and the rejection of materialistic ideals (quite topical in the 80's) and although these characters are walking clichйs, a testament to the lost art of self delusion and complete denial of anything resembling reality, Cocktail is the kind of movie which will leave even the most jaded viewer thinking that life is really fun, a laugh, and quite honestly, a bowl of cherries.

Cocktail Recipes

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Whiskey Sours

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The Worldwide Guide to Movie Locations: Exploring film locations around the world

Cocktail film locations

Film locations: New York City; Ontario; Jamaica

Cocktail, 1988

visit the film locations

Baker Street Pub , 1152 First Avenue ( tel: 212.688.9663 )

The 1963 film of Lord of the Flies and 1986 comedy Club Paradise , with Robin Williams and Peter O'Toole, also filmed in Port Antonio .

Cocktail location: TGI Friday, 1152 First Avenue, New York (before it reopened as the Baker Street Pub)

Brian Flanagan (Tom Cruise) learns the value of true lurve, and how to juggle bottles, in this predictable, flashy fluff, set mainly around New York.

The East Side bar where Brian and Doug Coughlin (Bryan Brown) practise their synchronised juggling was TGI Friday’s (it has since closed down) which stood at 1152 First Avenue at 63rd Street (though the interiors filmed at a recreation of the bar in a Canadian studio). The TGI bar is now the Sherlock Holmes-themed Baker Street Pub.

Cocktail location: Flanagan’s uncle’s bar, ‘Pat’s Place’: 50th Avenue, Queens

‘Pat’s Place’, Flanagan’s uncle’s bar,was in Queens , at the western corner of 50th Avenue and Jackson Avenue in Long Island City .

Flanagan’s success takes him to Jamaica, where the beach bar scenes were staged at Dragon Bay Beach, Port Antonio in Jamaica, where the bar is now called ­ surprise – Cruise Bar . In 2010, Tom Cruise returned to Port Antonio for the tropical island scene in Knight And Day.

The waterfall is Reach Falls , on the Drivers River , inland from Manchioneal on the northern coast.

Like many ‘New York’-set films, much of Cocktail , though, was shot in Toronto , at Soupy’s Tavern (now Stoopy’s ), 376 Dundas East ; Lee’s Palace, 529 Bloor West ; the Old Don Jail ; Knox College at the University of Toronto; Casa Loma ; Canada Life Building ; the Beardmore Building and St John’s Norway Cemetery .

• Many thanks to Anders Hansen for help with this section.