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It’s not particularly novel or controversial to suggest that the whole point of making Maverick was so that Cruise could, as he finally gets close to the AARP membership threshold, start to unpack his legacy, returning to the role that made him a superstar in order to evaluate how he and cinema at large have changed. But Maverick is the perfect symbiosis of narrative creative force - Cruise, star/producer, and keeper of blockbuster cinema’s flame - and the modern-day artistry needed to make those emotions land while also rocking one out of their luxury recliner chair at the local multiplex. Hell, I’ve made jokes on this very site about that fact, but I now can’t imagine why I ever doubted that a return to the Naval Fighter Weapons School was necessary. No one, save, perhaps, Tom Cruise, needed a sequel to Top Gun. The fact that Kosinski - a talented stylist who spent the first half of his career in search of a compelling script and/or character (which both Tron: Legacy and Oblivion lacked), but who came into his own with the firefighter drama Only the Brave back in 2017 - has made something that Scott would be proud of is nothing short of a miracle, and I hesitate to use the word “miracle,” simply because it elides the amount of hard work and skill it takes to do on his part. That knowledge of how they were used doesn’t change the fact that Horikoshi made beautiful airplanes, nor does it change that Scott made utterly stirring and aesthetic gorgeous entertainment in his all-too-brief time on this Earth. At worst, you can make a comparison to Jiro Horikoshi, the protagonist of Miyazaki’s The Wind Rises, in how aesthetic beauty - the glory of flight, the dream of man ascendant - is perverted by imperial ambition and capital. Nor is it unfair to compare Scott, a son of Eisenstein, to his master - both are fascinated by the intersection of beauty and montage, and both are innovators in their own right (though, of course, Eisenstein is the more significant). Want to rant about how the whole thing is a military recruitment video and/or propaganda? Yeah, and? Hell, modern cinema itself is founded upon the idea of political entertainment as a mass spectacle, but you don’t see someone tearing Strike! or Battleship Potemkin a new asshole because it was commissioned by the state.
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Want to freak the fuck out like Quentin Tarantino did in some now-forgotten ’90s movie about how gay the movie is? Yeah, and? Are you trying to tell me that gay fighter pilots can’t be cool? Are we still at the cultural point where the mere suggestion of queerness in quasi-conservative art is enough to cause otherwise well-meaning progressives to sling homophobic insults? I genuinely hope not. The intangible thing about Top Gun, the piece of the puzzle that links all of the disparate yet oft-heard criticisms together and makes it possible to answer them all with a “Yeah, and?” is that it is cool as fuck. Couple that with the impressive innovations in camera tech both as a result of the natural evolution of modes of film production and the few that were outright invented for this film, and you have something familiar, yet utterly fresh.īut first, a little more about the why of this film. Maverick doesn’t try to rewrite the formula of the original, though it adds a heaping serving of pathos to the plate of fanciful imagery, white-knuckle thrills, and swell character work already present in the original film. I won’t say it, though, because Maverick isn’t better than the original 1986 film: Instead, I think it’s just as good, which is to say that it’s fantastic.
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Is it finally time for us all to admit that Tony Scott’s Top Gun is… a really good movie? I can picture at least half of you forming up behind me, like that astronaut in that one meme, frothing at the bit to say “Always has been” before plugging me with two shots from your pistol, but the other is pleading with me to say the line that’s become standard-issue ever since Joseph Kosinski’s Top Gun: Maverick premiered at Cannes.