Tracy Winters Zzzzzzzzzzz-- oh, sorry. What movie am I reviewing? Wild Orchid! Oh, yeah.... okay....If you can keep your eyes open during this weak soft-core tripe, you'll see Mickey Dork standing around doing nothing for 2 hours. Of course, that's what he does best.Scary Otis plays a lawyer (*snicker*) who travels overseas to help Jackie Bisset do business. What business? Nobody knows... or cares. Feeble attempts at steamy sex scenes stink as much as a steamy turd in an airport toilet. The appearance of Bruce Greenlimp doesn't help.Save your time. Skip this and watch 'Hardbodies 2' instead. At least that boob-fest was funny once in awhile.

montroyal86 I thought this movie was fantastic although it is not to everyone's taste.There is quite a bit of nudity and erotic scenes but if you don't mind that both sexes can enjoy this film.I liked the plot and the location in beautiful Rio de Janeiro,Brazil.It makes me want to go there.Mickey Rourke,Carre Otis and Jacqueline Bisset I thought played their characters very naturally.It was interesting to watch the dynamics of power,money,lust,sex and love play out and I could definitely relate to it.The natural real life chemistry between Wheeler(Mickey Rourke)and Emily Reed(Carre Otis)really plays out in this movie and climaxes at the end to one of the best love scenes I've seen in mainstream film.I had to watch the movie twice to fully understand the rather complicated power game twists but if you like arty,erotic movies then you'll probably quite enjoy this film.

Blueghost MovieAddict2009 probably has the best review for enthusiasts of this kind of film. Think high-budget soft-core passed off for mainstream entertainment. Oh well. Somebody had to do it.On a more serious note, the other reason this movie is so half-brained is the Mickey Rourke character. He's a good-looking, egotistical, to- clever-for-his-own-good, jerk who likes to toy with people because he can. He's used his traits to make himself a financial success and a man of mystery, only there's no real mystery to his character. He just likes being an aloof and detached idiot to satiate his own ego.Otis's character sums him up in the end, but it's such a long drawn out (and sex filled) affair that the coupling in the end hardly makes up for an emotionally vapid male character. That's what makes movies interesting. Yeah, sure, the sex scenes were titillating back then to those of us who didn't make a habit of watching these types of films, but, beyond that, there's not much else here.There's some sumptuous cinematography, some interesting music and sound effects trying to convey to us a sense of sensuousness and eroticism, but it's really all for naught. Without a bit more on why the James Wheeler character is who he is, we might as well have watched "Debbie does Dallas" or any of the other adult film offerings around at the time.The reason we have no insight into Wheeler, and the reason this isn't a better film (in spite of all the positive technical elements), is because Wheeler is not someone deserving of sympathy. His lack of romance is self inflicted because he thinks he can out think people and be clever to get what he wants. But even this doesn't come across very well in the film. He explains it in a bit of dialogue, but ... so what? Did he do it as a cheap thrill? Answer; yes.He's not hiding a deep family secret. He's not struggling with some inner turmoil. He's not trying to forget a bad romance. He's not coming to grips with any deep personal angst. No. He's just being a twit. What he really could've used was a right-cross to the chin to knock him on his backside. Now that's a movie!As an audience our reaction should be thus; "Wow, mister Wheeler. You're a real jerk, you know that?" But instead we find ourselves getting sucked into the icing on the cake, and ignoring the sweet inner bread portions of said cake. Yet, when all is said and done, we understand that we've been short changed, and it's no fault of the director. Heck, you can't even blame the screenwriter, assuming he based the script off of a real person.The one person to blame for this films fallen arches is the real person upon whom the James Wheeler is based.Beyond that, if you want to see sex, well, the nets filled with so called adult websites.

Robert J. Maxwell The first time Carrie Otis appears on screen, she is a newly minted international lawyer at a job interview. She's breathless, anxious, and sounds fake. I thought she was doing the character, but in reality that was it. That's all she has for the entire movie. And Mickey Rourke? Did someone whisper to him that he was the sexiest man alive, or what? He does his best with Feminine Fantasy Number One, the mysterious, masculine, empathic self-made man who is filthy rich, but he simply can't pull it off without a French accent. Jacqueline Bisset's character should carry a sign around her neck -- "Bitch." There's not much point in going on about the plot, something out of a shoebox, which provides at least some material for a travelogue, though there have been better attempts to capture Rio ("Black Orpheus," eg.). The story gives Rourke a hang up. He can't stand to be touched -- let alone the other thing. But, no fear, Otis overcomes his inhibitions by the power of her pulchritude so we can end with a nearly explicit coupling. He turns out to be robustly masculine after all. Is that what "wild orchid" means? I mean, is it some kind of terribly mangled PUN?Here are some examples of the dialog. "Sometimes we all have to lose ourselves a little in order to find ourselves." And Otis: "I'm sorry," to which Rourke replies, "It's not you -- it's me." A sex scene dissolves into shots of the morning surf rolling in.Otis does in fact have one thing going for her, a slight lisp, in addition to her strong and attractive face and her robust figure. Rourke, though some sort of cryptohypnotism, has talked a bickering German couple into coupling in the back of a stretch limo while he and Otis watch. "Tell me what you see?" Rourke asks her. "I thee two people having thexth." There isn't anything much except thexth behind this excuse to cash in on the profits of Rourke's previous soft-core movie with Kim Basinger, and maybe take along some of the nut from "Emanuelle," another story about a rich man introducing a sexy but deprived young woman into the glories of debauchery. It's fun watching someone penetrate the mystique, but as the sociologist Erving Goffman once observed, often the real secret behind the mystery is that there is no secret at all. Maybe that's why masks are so commonly seen in this film.But this is a feminine fantasy, co-written by a woman, and so instead of bikini-clad young blond girl leaping in slow motion to bat the volleyball, we have Speedo-clad young men leaping in slow motion to bat the volleyball. I prefer the girls but both images are pretty banal.