Top Gun: Maverick (2022)
Director: Joseph Kosinski
Starring: Tom Cruise, Milles Teller, Jennifer Connelly, Ed Harris, John Hamm, Val Kilmer
Primary genre: Action
Secondary genre: Drama
Nominated for: Best picture, adapted screenplay, visual effects, original song, sound, film editing
Won: Best sound
You might wonder whether it is possible after 36 years to have a belated and an actually good sequel to a film that perhaps, story wise does not deserve one. In case you were (really) wondering, “Top Gun: Maverick” says “yes” to this rather prevalent question these days where many movies have received a 2010s/20s modern politics packaging as an extra gift that rubs the audience the wrong way (e.g., “Halloween“ (2018), “Terminator: Dark Fate” (2019)).
“Top Gun: Maverick” though stands above all the other upgraded sequels because it does not betray the spirit of the 1986 classic and offers enough material to make it a natural story progression as opposed to a technically proficient rehash (e.g., “Star Wars Episode VII: The Force Awakens” (2015)).
Maverick, a leftover 80s relic that still flies awesome planes is placed back into the Top Gun program to prepare a new team of recruits for a surprisingly vague and dangerous mission after a call from his wingman and now admiral Iceman. Honestly, it is all fluff and the film structure wise (to no one’s shock) follows the blueprint that Tony Scott set up three decades earlier to the letter. Gorgeous bodies on a beach? Check. “Great Balls of Fire” and “Danger Zone"“? Check. Bar where the Navy hangs out? Check. Cocky character? Check.
Yet, the script provides ample room for Cruise’s Maverick to grow and the fearless star plays his role to perfection adding a few psychological layers to a character that could have easily been a walking parody. Despite Maverick’s refusal to “grow up”, he remains a likeable protagonist with real flaws and enough emotional depth that makes the audience rooting for his “redemption” arc. He does not mumble or break down under the weight of endless neurotic one-liners but deals the proceedings with an interesting esoteric struggle that plays well on screen. His dynamic with Goose’s son is the main story point and while it ticks all the cliché you could think of, it is effective till the very end due to an underground tension between these two.
In an era where every modern film feels obliged to conduct (superficial) social activism that is considered at the same level of Médecins Sans Frontiéres or Martin Luther King’s ideas, “Top Gun: Maverick“ feels like a breath of fresh air precisely because it lacks identity politics, preachy overtones, and poor attempts of establishing an unnecessary cinematic universe with several spin offs.
It is a straightforward (and sometimes long) story that treats its (legacy and new) characters with respect; particularly in the on-screen reunion of Cruise and Val Kilmer (whose problems with throat cancer have been respectfully integrated to the plot) in a tender and heartfelt moment. The rest of the cast might be typically stereotypes but they remain appealing throughout the running time with only Miles Teller having some sort of material (and mini arc) to work with. Jennifer Connelly, an outstanding actress in her own right has a nice interplay with Cruise but her role does not extend beyond an one note love interest for Maverick.
But “Top Gun: Maverick” is not a psychological drama to explore the depths of human psyche. So when it comes to the much discussed flight sequences, you have to give Tom Cruise a lot of credit. His love for movies is apparent and his commitment to deliver to a saturated from superheroes and CGI spectacle audience brilliant entertainment in undeniable. Excluding the occasional computer explosion effects, the aerial shots are 100% real courtesy of modern technology and on the big screen, “Top Gun: Maverick” offers dazzling (and dizzying) spectacle that it is unlikely anything you seen before (the shot of Cruise departing from a Navy Carrier is spectacular). It is military porn if you think about it, exceptionally well crafted propaganda for thrill-seekers to join the Navy but done with tremendous technical finesse and panache that is missing from the cookie cutter superhero flicks that green screen everything.
Despite a “Mission Impossible” vibe towards the end (which could be the product of latecomer screenwriter Christopher McQuarrie) with an unnecessary extended ground climax, “Top Gun: Maverick” is a return to old school filmmaking with grade A tools, similarly George R. Miller’s “Mad Max: Fury Road” (2015). It won’t make it in the history books but it is definitely an excellent entertainment package with its novel aerial sequences and strong character arc for Maverick that yes … surpasses the original in almost every way.
An upgraded sequel of the 80’s cult classic
+Fantastic aerial footage
+Great arc for Maverick
+Brief but poignant Maverick/Iceman reunion
+80s feeling is fully embraced and updated
+Cruise is awesome
+Humor is spot on
+Solid cast
-Too long
-Predictable plot