In “Top Gun: Maverick,” the exhilarating and mind-boggling new “Top Gun” installment – which manages to integrate itself into the franchise logic over three decades after the late Tony Scott’s original – one of the admirals refers to Tom Cruise’s navy aviator Pete Mitchell – aka “Maverick” – as “the fastest man alive.” That’s a laughable line, but no more so than in “Mission: Impossible – Rogue Nation,” when Alec Baldwin’s high-ranking Alan Hunley calls Cruise’s Ethan Hunt “the living manifestation of destiny.” It is very easy to imagine that in both those quotations, Claw’s co-actors are not exclusively looking at his on-screen characters. For one thing, and quite importantly, they are thinking about the enduring legacy that Cruise the actor propels even now.
To tell you the truth, our charming and oh so brave action hero has earned both accolades from fans – what else are they for – because he is one of the few remaining signs that true superstar actors still exist. As humanity enters a world where “they don’t make ‘em like they used to” statements are consistently coming true, that notion of immortality slowly dwindles. Indeed, the actor’s unwavering devotion to show business, the fact that he performs his own stunts, which I stand to be proven wrong if someone claims does not require insane levels of physical effort, means that he is the worthy recipient of harsh admiration. Personally, I would say that level of high-brow praise usually dedicated to fully-method sorts like Daniel Day-Lewis is warranted.
Range of Cruise's acting prowess, from comedy to drama in "Born on the Fourth of July”, “Magnolia,” “Tropic Thunder,” and “Collateral" is indisputable. Still, thanks to his unparalleled commitment, we endure each film because we remember distinctly the reason why we begin watching his movies in the first place. Can you think of any modern household name that can deliver “a singular movie event” without exception?
In this regard, “Cruise” will have you overjoyed watching “Top Gun: Maverick.” Joseph Kosinski, the director of the witty adrenaline booster, provided room for the lead producer, Cruise, to strut his star power, and at the same time increase the emotional and dramatic intensity of the previous movie, but with nostalgia sprinkle.
Following a title card recounting the events of “Top Gun” using the same footage from 1986, we see Cruise’s Maverick in the toe-curling role of a US Navy’s Undaunted Test Pilot (I know, what a title!) and yes, they play Kenny Loggins’ “Danger Zone” in the background. You probably guessed right; soon enough he is called for a one-last-job type-of-teaching scenario for recent Top Gun alumni. Just like in the first movie, the assignment is as politically kooky and ambiguous. They’re an unnamed enemy – let’s call them Russia, because most likely, it’s Russia. A few targets that need destruction, a flight plan that sounds absolutely insane, and a scheme that all-but guarantees that every single top gun recruit will have to fly at dangerously low altitudes. But is it actually possible?
If the operation details provided to the avia-tor-wannabes (in a rather ‘we’ll make sure you never succeed’ style ‘Mission: Impossible’ voice) are anything to go by, it most likely is a long shot.
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You may be more absorbed in the human drama that Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie develop from a story by Peter Craig and Justin Marks than in the prospect of the extraordinary mission that awaits. To begin with, the potential recruits list includes Lt. Bradley “Rooster” Bradshaw (played by a terrific Miles Teller), the son of the dearly departed “Goose,” who, along with the rest of us, Maverick still hasn’t gotten over. And if Rooster’s understandable contempt of him wasn’t enough (in spite of Maverick’s fatherly instincts towards him), there are his skeptics—Maverick-is-what-placed-him-in-wonderful-work ensemble Jon Hamm’s Cyclone can’t get over why Iceman, his frenemy-turned-ally (Val Kilmer, in a heart wretching cameo), insists on him as the mission driver. Furthermore, the friction is caused by Maverick’s off-again romance with Penny Benjamin (Connelly in a bewitchingly charming role), the character that was rather famously name-dropped in the first part of the series. Consider America and its flags for a moment and try to reason why one strives to undertake such tasks…
In another form, all the proud fist-shaking and jingoistic drivel in “Top Gun: Maverick” would have been obnoxious, to say the least.
However, Kosinski, who has yet to be fully appreciated as “Only the Brave” has yet to receive the appreciation it deserves—I’m hoping that will change now—is exactly the type of director who seems to “get” the type of film he is being called to steer.” Kosinski has managed to achieve a balance of good-natured pompousness with serious self-mockery in “Maverick,” which manages to retain a great deal of humor and emotional poignancy that can take one by surprise.
In a particular light, this film treats friendship, loyalty, romance, and yep, “bromance” with the utmost reverence. Everything else that weaves around those ideas, like patriotic narcissism, feels like a loving nod and flourish toward crafting a vintage action flick. Because this attitude is evidently shared by the rest of the cast—from a wonderfully shot Ed Harris who begs for more screen time to the ever-great Glen Powell as the enticingly arrogant ‘Hangman,’ Greg Tarzan Davis as ‘Coyote,’ Jay Ellis as ‘Payback,’ Danny Ramirez as ‘Fanboy,’ Monica Barbaro as ‘Phoenix,’ and Lewis Pullman as ‘Bob’—the film, “Top Gun: Maverick,” at times runs completely off of its captivating on-screen synergy. Just take a look at the marvelous, sizzling chemistry between Connelly and Cruise, it is undoubtedly steamy—and (in a nostalgic wink to the original) a pretty provocative beach football scene, bathed in deep red light and suggestive shadows by Claudio Miranda, adds to the original’s beach vibes.
Of course, low-altitude flying, airborne dogfighting, and riding a motorcycle in a Top Gun leather jacket while cruising are all stunning highlights of “Maverick.” These wow moments, alongside low-altitude flying and airborne dogfighting, are complemented by “Maverick’s” breathtaking vision and soundtrack. Celebratory original score alongside cuts from Hans Zimmer and Lorne Balfe add to the uh-mazing feel of the movie. Reportedly, all the flying scenes—which for Cruise, include a couple of pure hell-yeah moments—were filmed in real U.S. Navy F/A-18s. For this, the cast went through some mind-boggling training to qualify.
Maverick is packed with emotion that is stunning—and surprising—at the same time. The jets soar through the atmosphere with precision as the magic of the screen comes to life, my heart racing for the ultimate cinematic experience. The editing done by Eddie Hamilton is breath-taking, with magnificently arranged clips that culminate into one jaw-dropping spectacle.
This emotional touch does not come without the stunning aerial dance in the sky with ‘Maverick.’ The viewer might anticipate a slight dance, but along the course of the film, they may find themselves needing a tissue or two with the sob-inducing finale.