Top Gun: Maverick

An inexplicable phenomenon in the form of a film that does not advance the genre forward, does not stand out in terms of acting, repeats itself like a song, and visually quotes a decades-old original scene by scene – and yet critics, viewers, children, and grandparents all nod their heads in agreement and struggle to admit that they just saw the film of the year. Honest action, where screws visibly fly off fighter planes and oil drips, a cliché seen a hundred times, which quakes with every emotion, and the essence of the 80s, extracted to the core, still works a couple levels better at every moment than it did in 1986. Top Gun: Maverick is the opposite of fan service because it brings us back to a fandom that most people only halfheartedly like, and not many would include it among their favorites. And yet it crushes us with nostalgia for times we didn't experience, forcing us to melancholically ponder fates we didn't know for three decades, and we honestly go in any direction it shows us, wondering why we never became pilots. (30/05/2022)

We have long been aware that Kosinski knows how to work with visuals and emotion, and here Bruckheimer and Cruise take him on a very pleasant journey of nostalgia. The connection to the original film is literally loving, the characters’ motivations complex and expansive. Fans of the original will get more of the same, but better, with an upgrade of the action scenes to a never-before-seen, physically honest airshow in the mold of Nolan. It’s been a long time since I’ve been so glued to an IMAX seat. I’m not giving Top Gun: Maverick a fifth star because the plot was safely predictable through the first 90% of its runtime in order to soothe fans of the original. The final 10%, however, is a wonderfully delightful Hollywood attraction. And I was pleased by the inclusion of Val Kilmer’s character. (25/05/2022)

Of course, the biggest attraction of the new Top Gun is not the supersonic fighter jets, but Tom Cruise in thrall to his own acting legacy. As is usually the case with legacy sequels, 90% of the plot is a copy/variation of the events of the first film (the opening and closing credits are practically identical). Whereas Cruise was a student in the first Top Gun, this time he’s an instructor (and stand-in father) who shows the novices how it (aerial manoeuvres and action movies) is supposed to be done. Thanks to his emphasis on the human element (repeating the line that what matters is the pilot’s skill, not the machine’s capabilities), he saves the day (and the action genre, which he is breathing new life into). Nevertheless, he remains a rebellious outsider who rides the (same) motorcycle, wears the (same) leather jacket, doesn’t respect authority and doesn’t read manuals. At the same time, however, he obediently serves the military-industrial complex, so his rebelliousness is only superficial. Because Maverick chose to go his own way (just as Cruise’s career comprises a separate universe that is not part of the dominant comic-book multiverse), he has not put down roots and remains a solitary figure (which is constantly emphasised by how he observes the other characters from afar rather than coexisting with them). Like the most recent Bond film, Top Gun: Maverick is packed with nostalgic looks back at the past, admitting one’s own vulnerability and coming to terms with the fact that our time on earth is limited (Cruise will soon be 60 years old). Seeking out and pondering the parallels between Maverick and Cruise by going through his filmography and reflecting on his image as a star was truthfully more entertaining to me than the numerous aerial scenes, which, with the exception of the last one, which takes place over a snow-covered landscape for the sake of variety, are interchangeable, with such rapid cuts that you can’t really enjoy them much anyway (it’s worth seeing the film in IMAX mainly for the sound). The same is true of the variation on the legendary volleyball scene. The game of (American) football on the beach is shot predominantly against the sun, chopped up with a lot of unnecessary cuts and absolutely asexual. I guiltily admit that watching it made me long for Scott's advertising-video aesthetic and shameless objectification of semi-nude male bodies. I would have found such stylisation more appropriate for a blockbuster heroic, action-melodrama that basically takes place completely outside of any real socio-political context, in a world that exists solely for the purpose of showing off aerial acrobatics and Tom Cruise’s smile. 75% (24/05/2022)

In Mission: Impossible – Fallout there were several sequences when the film crossed the line of fiction and built an exalted monument not only to its protagonist, but also to the actor who portrayed him. Top Gun: Maverick works simultaneously at the levels of fiction, reflective adoration and meta-commentary. Thus, when the line “The end is inevitable, Maverick. Your kind is headed for extinction” is uttered and Maverick responds, “Maybe so, sir. But not today”, it’s not just the title character or Tom Cruise, as the last thoroughbred Hollywood star, speaking for himself, but also for the 1980s blockbuster model. All of the warning lights are blinking red, alerting us that this old/old-world colossus shouldn’t be able to stand up to the bigger, faster, more finely tuned competition made with the latest hardware and software. We constantly have the feeling that this isn’t how it’s done anymore, that the time for that has passed, that everybody wants something more sophisticated, more advanced and more contemporary. But here it is simply confirmed that it is not the machine that matters, but the pilot. Of course, there are cheesy camp and crypto-queer levels to the film, but judging by the audience’s reaction, these are not flaws, but part of a delightful viewing experience, as the film doesn’t just wink at the viewers, but looks them right in the eye with its hard-to-resist gaze. Also, following Žižek’s analysis of Rammstein’s music and concerts in relation to Nazism, we can even say that the second Top Gun gives us a passive experience with Scientology (though, unlike in the case of Rammstein, this is not all based on caricature and it certainly does not subvert the reflected ideology). Tom Cruise can be condemned and hated for a number of things, but unlike other megalomaniacs of our time, he cannot be denied the recognition that he is without equal in his field, i.e. in cinematic spectacles. Not because of the massive paydays that he receives or how he fleeces his subordinates, but rather because he can tear down everyone for the perfectionist vision that he has worked so hard to create. Top Gun: Maverick proudly shows off its banal and obsolete engine, which should be in the salvage yard, but the living awe generator working the stick squeezes more power out of the old beater than anyone before him. ___ Footnote: In a handful of melancholically dreamy moments and plot motifs, Cruise’s ode to flying evokes Miyazaki’s understandably more poetic and multi-layered monument to fighter aces, Porco Rosso. (26/05/2022)

Nostalgia pushed to the limits, driven by the human desire to overcome obstacles. Cruise breathes life into this and sets out on the ancient battle between man and the machine meant to replace the man. The test is a Mission Impossible = to destroy an impregnable and almost invisible (probably) Soviet nuclear missile development center. Overall quite current right now... nostalgic but still current. Excellent actors. Primarily Teller and Powell. Equally macho hard-asses as last time learn to work together and keep pushing the limits and Maverick is the boss that is meant to teach them how. This direct and simple story is presented excellently and giving feelings of intense pleasure in just the right places, with the main protagonist looking for a place to belong. The bits with Kilmer are great and Jennifer Connelly is amazing again. Oh, and Tom Cruise carries it all on his shoulders with the strength of the last rightful star in Hollywood. A dying breed. But a chapter in itself. The mucking about at Top Gun is just a warm-up for the final inferno which will bowl you over not only at the IMAX, but even in a regular movie theater. Marvelous maneuvers by the F-18 (and another iconic machine) with gripping dog fights that have the viewer pinned to his seat. For two hours, the world was completely fine; the movie worked wonders on me again - I enjoyed it. Time is your worst enemy! (25/05/2022)