Maverick’ is a nightmare for Tom Cruise

Tom Cruise is Hollywood’s last great movie star, and even though his baby face is gone, he’s relentlessly battled Father Time, continuing to make reckless cinematic endeavors. to reaffirm his eternal youth.

Top Gun: Maverick (May 27) is an overt attempt to hold on to the past, revisiting the 1986 hit that catapulted Cruise into the A-class stratosphere — and the epitome of the glitzy gung-ho spirit of decade — through a combination of explosive military sounding wits, light romance, top 40 soundtrack singles, and sweaty gay sex poses. More than that, however, director Joseph Kosinski’s sequel is a reaffirmation of the studio’s unrivaled star cast and with it the voyeuristic pleasure of years’ critically acclaimed blockbusters. realistic personality and effects compared to the weightless CGI scene. An IP-rated bare-bones nostalgic car and its leading man’s irresistible charm, it was a spectacular summer that proves that there is still life in the old ways, All are attractive and satisfy the familiar need for speed.

Cruise’s battle against aging culminates with Top Gun: Maverick, which had been crafted as a shrine to his undying masculinity, and the DIY act that is now his buy-in. “The future is coming, and you’re not in it… The end is inevitable, Maverick. Your kind is in danger of extinction,” warned Rear Admiral (Ed Harris) to Pete “Maverick” Cruise’s Mitchell, who spontaneously replied, “Probably so, sir. But not today.” Then, on a dangerous mission, Maverick warned his students, “Time is your greatest enemy.” The clock was ticking for Maverick, who was thirty. years of his illustrious career failed to rise above the rank of Captain due to his stubborn refusal to play by the rules.Such rebellion was both his gift and his curse, and it was demonstrated by an introductory scene – “One Last Ride”, as Maverick recounts – in which he disobeys orders and flies a plane to Mach 10, a historic achievement he later passed and, in the process, was upset with a catastrophic wreck.

For his latest offense, Maverick is transferred back to San Diego’s Top Gun academy, where he is forced by the unhappy Vice Admiral to meet him “Cyclone” (Jon Hamm) to train a team of brilliant newcomers for a dangerous mission: infiltrate enemy territory and blow up a dormant uranium enrichment site. The identities of these enemies are deliberately kept obscure by a screenplay by Ehren Kruger, Eric Warren Singer and Christopher McQuarrie; As with its predecessor, the film keeps its politics abstract, as possible to overcome the dizzying excitement of the air battles and the emotional plight of the protagonist. Maverick’s return to Top Gun is complicated by one of his recruits being Bradley “Rooster” Bradshaw (Miles Teller), the son of his departed best friend Goose (Anthony Edwards), who whose death still haunts him — and that seems to have prompted him to make progress in Rooster’s career in an attempt to protect him from facing the same fate as his father.

Top Gun: Maverick enthusiastically embraces its wild nature, beginning with the orange-yellow sunrise of Navy officers silhouetted in their carrier business to the sound of Kenny Loggins’ “Danger Zone”. The sentimental exclamations only escalate from there, possibly through a Jerry Lee Lewis song at the local waterhole, well-timed notes from Harold Faltermeyer’s original score, a venerable cameo by Val. Kilmer (whose real-world illnesses are incorporated into the story) or a shirtless beach soccer game played by a collection of sparkling-bodied Adonises. This contest is, of course, led by 59-year-old Cruise, who, in the following scene, sneaks out the bedroom window of his new lover Penny (Jennifer Connelly), making sure to show his own steadiness. ta. There’s nothing subtle about any of these gestures, and nothing like a sarcastic wink, either, with Cruise and the franchise sincerely and forcefully declaring their long-term involvement. their length.

That could make Top Gun: Maverick sounds hokey and cocky, but Cruise and director Kosinski (Tron: Legacy, Oblivion) pulls it out amazingly well. Cruise’s magnetism remains unparalleled, and Kosinski pays homage to Tony Scott in a visual homage while at the same time putting his own stamp on the rah-rah material. Kosinski appreciates the close-ups throughout, maintaining the focus on his compelling characters and thus turning the proceedings into a tribute to aesthetic beauty. His aerial performances are similarly spectacular, thanks to both Claudio Miranda’s cinematography (flying between the uncomfortable cockpit views of the pilots and the grandeur of the captured planes. small by the big sky) and the fact that Cruise and company are actually driving these blistering war machines. There’s a gripping, heavy realism to Kosinski’s hubs that, like Cruise’s performance, appears as a joyful rebuke to the anytime, anywhere digital template that dictates the Contemporary tentacles.

“There’s a gripping, heavy realism to Kosinski’s hubs that, like Cruise’s performance, appears as a joyful rebuke to the anytime, anywhere digital template that dictates the Contemporary tentacles.”

There is no story about Top Gun: Maverick; the question is simply whether Maverick’s tireless will – and belief in his transcendental ethos (and, by extension, Cruise’s) – can ultimately triumph over the Roosters and help them narrow down. difference or not. Everyone plays a role, from Hamm as the scowling and protesting boss, to Connelly as the understanding and cute single mother who knows she has to let Maverick be Maverick, to Teller as the newcomer. conservative birth is a by-product of grief over his father. death, and who must learn to finally accept Maverick as his biological father. Clearly it’s not, but there’s still a brave seriousness to this comeback that’s hard to resist, especially as Kosinski goes through every fighter skirmish with intensity suspense and thunder.

Top Gun: Maverick is a cinematic tribute to Scott’s 1986 classic, to ’80s cinema in general, as well as to Cruise and his Dorian Gray smile. As such, it is like a prologue to America’s political and artistic age now projected in the rearview mirror, visible and alive only by those who believe in the value and vitality of it’s — especially in the face of a modern Marvel-dominated cinema — the universe is defined by its sights and intangibles. The many Stars and Stripes seen blowing in the wind suggest that Kosinski’s next work is a patriotic one, detached from the well-demarcated geopolitical specifics, which seems to itself very scary. That the series is just as successful, packing more excitement into 131 minutes than the most recent sumptuous sumptuous films, speaks to Cruise and Kosinski’s excellence as well as the credibility of the traditional craft. — even if that victory, in the end, feels like the last gasp of a bygone era. Maverick’ is a nightmare for Tom Cruise


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