Top Gun: Maverick is the sequel to the original 1986 film. I must admit that my recollection of that classical is somewhat fuzzy now, but I do remember the original being quite excellent with some iconic music and cinematography. This reboot illustrates the quandary of re-capturing the dynamism and eclat that marked the original whilst trying to create a new fresh storyline. In my view, the narrative and story fall quite short.
There is the problem of Tom Cruise’s Maverick. How do you introduce the babyish adolescent Maverick of former days that is still in his prime, bold and daring? According to this film, you make your character behave and act as though he hasn’t actually grown up. The film begins with some spine-tingling scenes of Maverick in a Hypersonic Jet flying at Mach-10. Credit to Kosinski: these are some terrific scenes. There is something majestic in the sublime beauty of a jet soaring through the clouds in the upper atmosphere. Just beautiful.
Nevertheless, we see Maverick prepared to take absurd and totally ridiculous risks whilst also suffering from some psychological holdover from the previous film. What has Maverick been doing since 1986? He has still not recovered from the death of his Goose and is mired with regrets about his past. Still! Indeed, his wisecrack jokes and grins seem a bit disjointed in a man approaching his fifties. He also appears to have no real friends, no relationships, no girlfriend, no children etc... Here is a lonely man who will risk death in going above Mach-10 for no reason. He has also never been promoted to a position of seniority in the air-force and is made to feel like a relic. It’s a bit depressing.
Moreover, for me, the film The Mummy imparted a lingering suspicion that Tom Cruise only has a limited repertoire that he brings to a character. It’s the same set of looks and delivery and so on: whether Mission Impossible or Top Gun. I’m not sure if that’s fair, but it’s my suspicion (exception might be War of the Worlds).
At any rate, Maverick is ordered to train the “elites of the elites” to carry out a nondescript operation against Tehran. As I say, the plot isn’t what drives Top Gun: Maverick. Instead, it is the background for action-packed planes in the sky, fraternal comradery, and a lot of bro-ing. The group is a fairly cliché bunch: with the token arrogant rude one, the token female, the token nerd, etc... Among their number is Rooster (Miles Teller), son of his former friend Goose. There is surprisingly very little interaction in their burgeoning relationship. For example, Rooster’s initial residual anger and resentment is somehow transformed into their hugging, embracing and high-five-ing one another. We never seem to get a sense of closure between them over past traumas and difficulties. There are brief moments of wistful reflection for Maverick; but these are promptly offset by beach scenes, muscular toned bodies, sharp hairlines, broad shoulders & chiselled jawlines etc... (but no shower scenes with men in their white towels, unfortunately.).
Nevertheless, Kosinski has created such action-packed, immersive, adrenaline-inducing cinematography that one can overlook these problems: from cameras positioned inside the cockpit, to the explosive sonic blast and pressure of flight captured in and around the F-18 (I think?). I also appreciated the audible bursts of inhalation in the cockpit reflecting large g-forces. It adds to the experience as planes are darting around the landscape (and it’s a point which most people would not have realised).
Unfortunately, the plot is somewhat lacking which leads to a lack of finality and closure.
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