Top Gun: Maverick

The story is lemonade again, but this time not as flashy and more sensitive than the previous time, and you don't think so much about Hot Shots while watching it, and if you giggle at anything, it's perhaps only at the plan, which is reminiscent of the destruction of the Death Star – even using the Force in the final set-piece :) Otherwise, everything is perfectly fine, the film whizzes along for two hours like a fighter jet, and Tom Cruise proves that he deserves his star status as much as anyone, regardless of all his oddities. The aerial scenes are incredible, and watching the closing credits I thought to myself that at least half of those people must be from insurance companies. The last time I felt this authentically "there" in the cinema was probably when watching First Man, which was not filmed in any rockets. Top Gun: Maverick is, in short, an excellent, honest film with so many scenes that I'd like to see again that I'd rather watch the whole film right away. (03/06/2022)

The first one was youthful, impetuous, restless and surprisingly a lot harder and less predictable. The second one plays on safety. Lest it sound bad, it's a great movie. What Bruckheimer was able to produce, Kosinski to shoot, and Cruise and co. to star in will be in the textbooks for the next decade on how to make an "aerial film." All those polished shots, breathtaking camera twists and F18s rolls (and it wouldn’t be Tom Cruise without a Cobra at least once per film) are truly eye candy and you can't help but smile at the commitment of the actors. But there is not a single surprise, not a single unexpected scene throughout – there is one hint towards the end, but after a few seconds the sensation dissipates in another onslaught of clichés. Of course,we are speaking about clichés with refinement, elegance and overall acceptable consistency throughout, though. The filmmakers partially develop the story of Maverick and actually kind of recreate the fan-favorite moments of the first film for audiences three generations younger. The older ones smile because they know, the younger ones stare wide-eyes because they don’t know and they like it a lot. That means everyone is a target and that's why Maverick will make a bundle and deservedly so. However, the screenwriting qualities are not nearly as high as the technical ones. But that in the end is obviously not such a problem for a high rating, because when Cruise puts on his dusty jacket and sits on his motorbike at sunset, it's hard not to just slap five stars on there out of nostalgia. (01/06/2022)

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)

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)

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)