Late sequels are always very dangerous projects. On the one hand, think of the intention to recycle old cinematic successes and enjoy the nostalgia of the viewers. On the other hand, the question of whether we need them on every occasion, whether their very existence is narratively and dramatically justified; and if what they bring really makes sense. And we’re happy to say Top Gun: Maverick it answers what we wanted about it.
No doubt the New Yorker Tom Cruisea Hollywood celebrity who put himself in the shoes of Daniel Kaffee for some good men (1992), the Lestat of interview with the vampire (1994), Ethan Hunt’s Impossible mission (1996), the Frank Mackey of Magnolia (1999) or John Anderton in Minority report (2002) and that here reprized the role of Pete Mitchellyou will be really happy to have the filmmaker Joseph Kosinski.
The person in charge of tron the legacy (2010), who had already directed him in oversight (2013), not only succeeded in making the basketry of a childish and incomprehensibly remembered film like the late Tony Scott’s original (1986), to whom the second is dedicated, to become something a larger conceptual entityotherwise what Top Gun: Maverick does not suffer anything by claiming and stands upright a solid reasoned basis.
‘Top Gun: Maverick’ Has More Substance Than The Original Film
The honor and effectiveness of the third film directed by Joseph Kosinski is largely due to the fact that your emotional core result much more interesting than that of the previous feature because of what the incorrigible aviator of Tom Cruise carries on his shoulders. Like old Michael Corleone with the face of Al Pacino The Godfather 3 (1990), saving the obvious distances. Which, in addition, allows the actor to offer us a wider range of his interpretative capacities.
As if that were not enough and, given the usual charisma of Jennifer Connellyhere magnetic watch like Penny Benjamin replacing, shall we say, the mediocre Kelly McGillis, who played Charlie Blackwood in the first film. So much so that he almost ate the star of Top Gun: Maverick if you’re careless for a second. Miles Teller doesn’t disappoint as Bradley Bradshaw, and, well, we’re thrilled to have Val Kilmer’s Tom Kazansky show up.
And it is that the good work of screenwriters Ehren Kruger, Eric Warren Singer and Christopher McQuarrie, with whom Tom Cruise has already collaborated nine times, under the orders of Joseph Kosinski and compared to that of his colleagues Jim Cash and Jack Epps Jr. for Tony Scott, it is such that involve us in the tribulations of characters that we didn’t care about in his previous adventure and that he made us see again in a sequel like this. And they deserve to be recognized.
Joseph Kosinski keeps the spirit and improves it
But none of these improvements means neglecting consistency with themes and style eighties Top Gun: Air Idols. In the sequel, they worry about building an expressive bridge to the present without the film proposal aging one iota, even musically speaking. The American filmmaker’s planning, aided by appropriate photography by Claudio Miranda and steel editing by Eddie Hamilton, pleases.
Especially when the plot of the in-flight action which develops is more attractive, fast-paced, long-lasting, busy, and possessing various turns that serve well to boost our restlessness. And, as if that weren’t enough, they decide to shoot the lead from past scenes and archetypal imagery while retaining the spirit of others who would otherwise lack dramatic logic. A) Yes, Top Gun: Maverick beats Tony Scott feature film. Good news.