Donaldson more overtly explored those ideas with his first US film, "MARIE: A True Story" (1985), with Sissy Spacek as a whistle-blower exposing corruption in the Tennessee parole system. The popular romance-cum-political thriller "No Way Out" (1987) additionally built on the director's interest in those who find themselves fighting "the system", in this case Kevin Costner as a military man who runs up against intrigue and dirty dealings in modern Washington, DC in this update of the 1940s film noir "The Big Clock".
While Donaldson had enjoyed a modest critical and/or box-office success with his earlier work, "Cocktail" (1988), a rather lame and absurd Tom Cruise vehicle about a bartender, rode to large earnings on its star's Pepsodent smile. Unfortunately, having tasted success Donaldson seemingly went into a downward spiral. "Cadillac Man" (1990), a comedy-drama about a cuckold (Tim Robbins) who takes his wife's lover (Robin Williams) and a group of his co-workers hostage. Although on occasion it was visually stylish, "White Sands" (1992) ultimately proved confusing with a convoluted plot involving dirty cops and FBI agents. Donaldson perhaps reached a nadir when he was tapped to steer Alec Baldwin and Kim Basinger through a totally unnecessary remake of "The Getaway" (1994). "Species" (1995), while silly, proved popular and began to reestablish the helmer's reputation.
In 1997, Donaldson had the advantage of being the first out of the gate in a year that saw two movies about erupting volcanoes. His "Dante's Peak" arrived in theaters in February and was a bit more coherent and entertaining than the generically titled "Volcano". "Dante's Peak" again had outsiders battling against those in power, but the director's touch was uneven at best. Returning to the arena of politics and reuniting with star Kevin Costner, Donaldson made what is arguably his best American film to date, "Thirteen Days" (2000). By focusing on the day-to-day affairs of the behind-the-scenes governmental activities during a tense two-week period in October 1961, the director crafted an absorbing and suspenseful drama. He once again tackled politics and duplicity with "The Recruit" (2003), a drama about a rookie CIA agent who comes to suspect his mentor may be a double agent.