Mickey Rourke Movies
Mickey Rourke originally aspired to careers as a pro baseball player and - later - a championship boxer, but did a 180 away from the ring and cut his chops as an actor instead. Rourke launched his career with small roles in 1941 (1979) and Heaven's Gate (1981) before gaining broader notice as a pyro expert in Body Heat (1981) and one of the raunchier leads in Barry Levinson's Diner (1982). He followed with admirable work in Rumble Fish (1983) and The Pope of Greenwich Village (1984), and gave a bravura performance as fanatically determined police captain Stanley White in Year of the Dragon (1985). When the film was slammed by critics, Rourke defended director Michael Cimino and snubbed all interview requests. He immediately gained a reputation as a perfectionist, agreeing only to work with directors and on projects that met with his high standards. His 1987 performances in Angel Heart, A Prayer for the Dying, and Barfly attest to this, but starring roles in Adrian Lyne's infamous 9 1/2 Weeks (1986) and Zalman King's Wild Orchid (1990) gave him a "Eurotrash" taint, only enhanced by his hot temper and maverick nature. These qualities, however, while career poison in the U.S., did nothing to hurt Rourke's reputation in France, where filmgoers adored him.From the late '80s through the early '90s, the career of this disillusioned actor with the potential of Robert De Niro spiraled down, down, down, with his co-starring appearance in Harley Davidson and the Marlboro Man (1991) just one nadir. He wrote, produced, and starred in Homeboy (1988), a film about a near brain-dead prize fighter. It skipped theatrical release and went straight to home video. The masochistic connection between this film and Rourke's subsequent resumption of his boxing career (from 1991-1994) was undeniable, though he continued to appear sporadically in small films and supporting roles. In 1997, Rourke reprised his role as an s&m fetishist in Another 9 1/2 Weeks, a virtual remake of the original, only sans the redeeming presence of Kim Basinger.
Although Rourke's career consisted primarily of direct-to-video titles for several years, he had enough friends and respect among his contemporaries that he hung on to his rebound potential, and his small role in Francis Ford Coppola's 1997 adaptation of John Grisham's The Rainmaker marked something of a comeback. The following year, Vincent Gallo, an unapologetic fan of Rourke's, cast him as the antagonist in Gallo's directorial debut, Buffalo '66; the long-dormant Terrence Malick also cast Rourke in his critically-worshipped Thin Red Line (1998), but Malick excised the actor's scenes from the final cut, probably to reduce the film's whopping length. Rourke showed flashes of his former brilliance in Steve Buscemi's Animal Factory (2000), joined the cast of the Sly Stallone-headlined Get Carter remake that same year, and gave an impressive supporting performance in Sean Penn's police procedural-cum-harrowing study of obsession, The Pledge (2001).
Rourke also signed on with director Robert Rodriguez for the third of that helmer's Mariachi films, Once Upon a Time in Mexico, in 2003. As a harbinger of things to come, a powerful creative bond formed between the weathered, iconic Rourke and the tireless director on the Mexico set. In 2005 the duo again teamed for Rodriguez's and Frank Miller's eagerly anticipated big screen adaptation of Miller's Sin City comics. Cast as lovelorn brute Marv, Rourke delivered an impressive performance as an imposing beast of a fellow bent on avenging the death of an angelic prostitute in this stylish noir comic book come to life, which gave him cult status among a new generation of fans. In 2004, Rourke delivered a memorable supporting performance in Tony Scott's Man on Fire alongside Denzel Washington; it marked the first film in a two-picture creative partnership between Scott and Rourke, the second half of which came to fruition with 2005's Domino.
2006 saw Rourke appearing in Stormbreaker (co-starring Bill Nighy and Ewan McGregor) with Rourke as the nasty villain opposite Alex Pettyfer's "teen spy" Alex Ryder. Killshot, with Rourke as the hitman who attempts to rub out married Federal Witnesses Diane Lane and Thomas Jane, ended up being sitting on the studio's shelf for nearly three years. The film marked Rourke's first collaboration with Lane since Francis Coppola's critically-championed 1983 cult film Rumble Fish.
With the release of 2008's The Wrestler, Rourke pulled off one of the most remarkable career comeback stories of the era. His role as the aging professional grappler Randy "The Ram" earned him the strongest reviews he'd received in over two decades, and secured him his first acting nomination from the Academy as well as a nod from Screen Actors Guild, and he took home the Golden Globe for best actor in a drama. Rourke would enjoy sustained success in the years to follow, appearing in films like Iron Man 2, The Expendables, and Immortals.
Rourke was married to Debra Feuer from 1981-89 and Wild Orchid co-star Carre Otis from 1992-1998. Both marriages ended in divorce. ~ Bruce Lawton, Rovi
Writer-director Barry Levinson's autobiographical first feature fondly remembers his Baltimore youth. It's late 1959, and six guys in their early twenties are stumbling into adulthood, alternating responsibility with carefree time at their local diner. The story centers on the return from college of Billy (Tim Daly) to serve as best man at the wedding of his pal Eddie (Steve Guttenberg). Billy is consumed by a confusing relationship with a close female friend, while Eddie still lives at home, preparing a football trivia test for his fiancée and vowing to cancel the wedding if she fails. Other characters woven into the narrative include Boogie (Mickey Rourke), a womanizer with a gambling problem, and Shrevie (Daniel Stern), a music addict with a troubled marriage. Diner became known for its bittersweet comic screenplay and its remarkable cast, which also included Paul Reiser, Kevin Bacon, and Ellen Barkin. In order to capture the loose, laid-back dialogue of the diner scenes, Levinson directed them last, so that the actors would be more comfortable with each other. Diner was the first part of Levinson's "Baltimore Trilogy," followed by Tin Men (1987) and Avalon (1990). ~ Norm Schrager, Rovi
- Starring:
- Tim Daly, Steve Guttenberg, (more)
A reclusive, unhappy gold magnate finds his isolated tropical paradise threatened by the intrusion of organized criminals in director Nicolas Roeg's convoluted, arty drama. Gene Hackman stars as Jack McCann, a one-time gold prospector who his parlayed the discovery of a rich deposit in the Canadian wilderness into an immense fortune. Instead of satisfaction, McCann's wealth leads to depression and paranoia, and he moves to a remote island and withdraws from the world. The bulk of the film centers on what has become of McCann some thirty years later, as he attempts to deal with a troubled daughter (Theresa Russell) and the attentions of the Mafia, who want to build a new casino on his tropical home. As the pressures increase, his efforts to protect his property and maintain his family become increasingly desperate, culminating in an extended public trial. Even stranger and more stylized than most of Roeg's work, the disjointed Eureka will seem incomprehensible and painfully pretentious to those with little patience for his indirect narratives and purposefully exaggerated approach. Devoted fans, however, will find further proof of the director's impressive visual sense, especially during the film's earlier sequences. ~ Judd Blaise, Rovi
- Starring:
- Gene Hackman, Theresa Russell, (more)
Lawrence Kasdan's first directorial effort is a throwback to the early days of film noir. The scene is a beastly hot Florida coastal town, where naive attorney Ned (William Hurt) is entranced by the alluring Matty (Kathleen Turner in her film debut). Ned is manipulated into killing Matty's much older husband (Richard Crenna), the plan being that Ned's knowledge of legal matters will enable both conspirators to escape scott-free. This might have been the case, had not Matty been infinitely craftier than the cloddish Ned. Just when it seems as though the film has run out of plot twists, we're handed yet another surprise. ~ Hal Erickson, Rovi
- Starring:
- William Hurt, Kathleen Turner, (more)
- 1980
The landmark 1978 courtroom prosecution which determined that a married man can by law be brought up on charges of raping his wife, was meticulously--and tastefully--detailed in this made-for-TV movie. Linda Hamilton stars as Oregon housewife Greta Rideout, who after years of abuse at the hands her husband John (Mickey Rourke) (it is the sort of marriage described by one observer as "usually [winding] up as suicide or homicide") finally takes him to court, accusing him of forcing her to have sex against her will. Among those involved in the case are feminist activists Helen (Conchata Ferrell) and Jean (Gail Strickland) and opposing attorneys Gary Gortmaker (Eugene Roche) and Charles Burt (Rip Torn). Rape and Marriage: The Rideout Case originally aired October 30, 1980 on CBS. ~ Hal Erickson, Rovi
- Starring:
- Linda Hamilton, Mickey Rourke, (more)
- 1980
The always-touchy issue of euthanasia has provided source material for films since the silent era. 1980's Act of Love stars Ron Howard as the brother of Mickey Rourke, who has been left paralyzed by a motorcycle accident. Howard kills Rourke with a shotgun, claiming his brother begged him to do it. He willingly gives himself up to the authorities and stands trial, hoping more for understanding than exoneration. Made for television, Act of Love was based on a true story, chronicled by author Paige Mitchell. ~ Hal Erickson, Rovi
- 1980
- R
An interesting, introspective variant on the '80s slasher formula, this low-key psychological thriller details the troubled life of obsessed movie junkie Eric Binford (Dennis Christopher), whose love of old movies extends far beyond his job at a film distributor's warehouse and endless late-night film screenings in his bedroom. His singular obsession eventually rounds the bend into psychosis after he crosses paths with a Marilyn Monroe look-alike (Linda Kerridge), who becomes the physical embodiment of his cinematic desires. When stood up on what he believed would be their first date, Eric becomes homicidally unbalanced, transforming himself into a gallery of classic movie characters -- including Dracula, The Mummy, Hopalong Cassidy, and Norman Bates -- and sets out to destroy his oppressors, starting with his crotchety wheelchair-bound Aunt Stella (Eve Brent Ashe), then targeting a boorish co-worker (a very young Mickey Rourke), and eventually working his way toward Kerridge. The film begins with a groovy concept, but loses something in the execution -- the horror and comedy elements fail to gel completely, and Christopher's performance is too creepy to generate much empathy. ~ Cavett Binion, Rovi
- Starring:
- Dennis Christopher, Linda Kerridge, (more)
- 1980
In his last appearance before the cameras, David Janssen plays an alcoholic journalist desperate for a comeback. Janssen hitches his star to ruthless publisher Robert Vaughn, who is exploiting a rash of brutal murders to sell papers. The danger here is that the unknown serial killer, who preys upon beautiful young women, is rapidly becoming a media celebrity--and may be prompted to continue killing just to see his name in print. Beyond its own potential for sensationalism, City in Fear raises several provocative questions about the responsibility (and culpability) of the press. For its March 30, 1980 premiere, City in Fear was given a two hour and fifty minute timeslot. ~ Hal Erickson, Rovi
It's December of 1941, and the people of California are in varying states of unease, ranging from a sincere desire to defend the country to virtual blind panic in the wake of the Japanese attack on Pearl Harbor. Thus begin several story threads that comprise the "plot" of this strange period comedy, a sort of satirical disaster movie, from Steven Spielberg. The stories and story threads involve lusty young men, officers (Tim Matheson) and civilians (Bobby Di Cicco) alike, eager to bed the young ladies of their dreams; Wild Bill Kelso, a nutty fighter pilot (John Belushi) following what he thinks is a squadron of Japanese fighters along the California coast; a well-meaning but clumsy tank crew (including John Candy) led by straight-arrow, by-the-book Sgt. Tree (Dan Aykroyd), who doesn't recognize the thug (Treat Williams) in his command; and homeowner Ward Douglas (Ned Beatty), who is eager to do his part for the nation's defense and, despite the misgivings of his wife (Lorraine Gary), doesn't mind his front yard overlooking the ocean being chosen to house a 40 mm anti-aircraft gun. There is also a pair of grotesquely inept airplane spotters (Murray Hamilton, Eddie Deezen) who are doing their job from atop a ferris wheel at a beachfront amusement park; a paranoid army colonel (Warren Oates) positive that the Japanese are infiltrating from the hills; a big dance being held on behalf of servicemen, being attended by a lusty young woman of size (Wendie Jo Sperber) eager to land a man in uniform; and General Joseph "Vinegar Joe" Stillwell (Robert Stack), in charge of the defense of the West Coast, who can't seem to get anyone to listen to him when he says to keep calm. And, oh yes, there's also a real Japanese submarine that has gotten all the way to the California coast under the command of its captain (Toshiro Mifune) and a German officer observer (Christopher Lee), only to find itself without a working compass or usable maps. Its captain won't leave until the sub has attacked a militarily significant, honorable target, and the only one that anyone aboard ship knows of in California is Hollywood. By New Year's Eve, all of these characters are going to cross paths, directly or once-removed, in a comedy of errors and destruction strongly reminiscent of the finale to National Lampoon's Animal House (as well as several disaster movies from the same studio), but on a much larger and more impressive scale. ~ Bruce Eder, Rovi
- Starring:
- Dan Aykroyd, Ned Beatty, (more)
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