S M G
Sometimes going back to a (reasonably) loved movie to do a remake or a sequel just seems like an idea fraught with problems – how do you do something new, without changing what people liked in the first place?
Top Gun Maverick has managed to succeed by doing both – keeping things the same – perhaps even predictable so, while giving the whole thing a revitalising refresh. This time round, Tom Cruise’s ‘Maverick’ is now a test pilot and still as difficult to work with as ever. A unique mission calls for his skills as a trainer of Top Gun pilots, and so he returns to Flight Academy to mentor a new generation of pilots. However, this brings up memories of his past, not least the death of his friend ‘Rooster’, whose son is now one of the new Top Guns he has to train. Will there be a rapprochement? Will there be a thrilling nearly impossible mission? Will there be a sing along in the bar? You bet your boots there will.
The plot doesn’t pretend people’s characters have changed – passage of time is acknowledged – poignantly so in one cameo. But that doesn’t mean Maverick is a reinvented modern man. He still gets up the nose of his superiors, still sees beautiful women as a challenge rather than an opportunity to grow, is still unorthodox and of course is a brilliant pilot. With the lack of development inbetween movies of Cruise’s character, there is much to work with in terms of giving an arc of sorts, but don’t expect too much revelation or transformation. What we do get is neat enough links to the past and a plot which relies heavily on the blueprint of the first movie, while still coming up with some new elements.
What really takes the movie to the next level are the flying sequences. Cruise’s dedication to being in the action and perform as much as possible himself, means the sense of being “in” the action is palpable. Watch this on as big a screen as possible and your adrenaline glands can’t fail to get a workout.
Are there problems? Well the plot isn’t rocket science and doesn’t bear too much scrutiny, even if the emotional beats make sense. One might even call it derivative. And Jennifer Connelly has a pretty unforgettable role, which is a real letdown, given the chemistry she ignites with Cruise onscreen. It might be a male skewed movie, but does that mean the one female role should be so underserved, particularly with so fine an actress?
That said, I defy you not to have a smile cross your face when you hear that Harold Faltermeyer music (in Hans Zimmer’s safe hands) play out at the start of the movie, in a nice homage to Tony Scott’s intro to the original… and predictable or not, I had a smile on my face for most of the movie, and that’s just what the doctor ordered as cinema gets back on its feet.
© Stephen's Movie Guide
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