the sequel to Tom Cruise is flying high

Top Gun it’s not just a movie, but a precise way of thinking about cinema. Released in 1986, the second feature film by the author Tony Scott wrote a history of the cult of the Seventh Art, perhaps among the titles that achieve this status fastest, immediate, sensible, urgent, full of heart and vision. He cleared the younger Scott’s talent in a difficult and all-encompassing directorial test, stealing forever the heart of the fantastic 80s generation and developing the 90s one with the myth of beauty and speed embodied on the big screen by the then very young Tom Cruise. The product is antiqued as well as its hero, with still strong legs and hardened body despite the visible wrinkles of time. A reckless and exciting movieTop Gun, even if the technology and design constraints of the time did not allow the director or actor to really gain height with the fantastic F-14s, arranging between studio reenactments and detailed shots of routine maneuvers and stunt tricks, including spectacular takeoffs from military aircraft carriers.

Now, 36 years after this title, which rightly belongs to Olympus of the Unforgettable, Tom Cruise returns to play the role of the irreducible Pete Mithcell, in the sequel devoted to this very way of thinking about cinema, shaped over time by the performer himself, his impeccable temperament, an impressive mixture of stubbornness and the power of the stars. And the truth is that Top Gun: Maverick is one of the best “nostalgic” sequels to hit theaters so farwith something to tell and a sense of adrenaline that can only be experienced on the largest screens possible (it is no coincidence that Top Gun Mavericks was also promoted by Hideo Kojima).

Back to school

It seemed impossible to recreate without imitating the step-by-step atmosphere and cinematic depth of one of the most beloved cults of all time, however Paramount Pictures, Joseph Kosinski and of course, Cruise has succeeded in producing a fictional film born of our time but with a glorious and alluring past in mind.

And in fact, the pilot loses his fur, but not his misdemeanor, which allows the viewer to immediately recognize the indomitable figure of Mitchell, who has become the decorated captain of the ship and is still in love with airplanes and adrenaline. Needless to say, when he opposes a direct order from his superior, Maverick is forced to return to TOPGUN, a combat school for the best US Navy pilots, this time as a teacher. His task is to train and then select six students for an almost impossible mission, “from two wonders in one”, who in the meantime deal with a difficult relationship with Goose’s son, Bradley “Rooster” Bradshawand gradually found himself wiser in his unattainable and charismatic audacity.
It is the entire narrative soul of a continuation, partially written (or rewritten) by a companion cruise McQuarrie who plays a clear and intelligent concept of reference to the first chapteror following it wisely, supporting it in the psychological construction of relationships – including the inevitable cliche – and eventually overcoming it without hesitating in cinematic innovation. Merit that goes first to Cruise’s production control, in its far-sighted and clean way, and then to the dialogues created by McQuarrie, Ehren Kruger and Eric Warren Singerand finally to selected heroes, able to perfectly play the roles of the new TOPGUN elite.

In addition to Cruise’s constant presence, Maverick is basically a choral film, dragging the rope between the actors of the characters get an audience one scene after another, between the arrogant tyrant (The Hangman Glen Powell), the only tough woman in the group (“Phoenix”, with Monica Barbaro’s face), the introverted but biting Bob (credible Lewis Pullman) and the Rooster. Step into the shoes of the latter is there Congratulations Miles Tellera conceptual and psychological crisis between Goose and Maverick, for physique-du-role and performance.

It is also worth mentioning the role of a sort of alternative “Viper” played by Jon Hamm and Mithcell’s beloved Penny, played by the wonderful Jennifer Connelly, partly inspired by “CharlieKelly McGills, unfortunately absent from the sequel – without any particular significance in the plot. There are also touching surprises (did someone say Val “Iceman” Kilmer?) And also fundamental and very exciting are the themes of loss, inheritance and rebirth, as if it were a therapeutic path for two opposing generations you start with different extremes to reconnect and finally understand.

Need for speed

Without so much melancholic kindness and writing, especially for the ’20s hit who is desperate to dress up The eightiesThe truth is, to stand out from over so many competitors in the industry Top Gun: Maverick is a brave of technical virtuosityspectacular action and dynamics of sequences and shots, something truly unique and never experienced before.

Without hiding it, this is the real highlight of the sequel, ratio the principle of existence of a continuation connected by a double rope with technological evolution and the madness of production subjected to swagger and sine qua non Cruise. Focusing on the end of an era dogfight and the beginning of drones, both in terms of content and visual The film focuses on the irreplaceable nature of pilots and the human element in fighters. In this way, it gracefully opens up to the narrative in action, literally placing Cruise and his supporting actors in the cockpits of the Navy’s F-18, who at the same time become translators and directors, having to manage the very film structure of the action on the fly … tangible and obvious, between distorting pressure and gravity and the roar of engines and shattered walls of sound that shattered the room, meanwhile reliant on so much spectacularity. Mimicking with great respect the initial mood then invented by Tony Scott, Kosinki and Cruise offer a captivating and visually perfect opening sequence, from the filmography of Mach 10, with a piercing and overwhelming musical crescendo (perfect compositions Harold Faltermeyer e Hans Zimmer).

In the urge to remember, the construction of the first Top Gun is barely repeated, then it moves in a much more reckless and exciting direction in an imaginative sense. Training is a series of reckless maneuvers and teachings on the limits of probability, with an amused Tom Cruise and always part, still perfect, still a Maverick in every way. But it is in the last forty minutes that the film can do its best, elevating the sense of cinema with dedication and storytelling among the best ever seen in the genre, letting us live a disarming, tense and unusual shock experienceat times unexpected and sincere excitement, touching passion.

It is an astonishing and repulsive emotional and instinctive effect that such a well-thought-out and packaged action in flight can have on the heart and head of a viewer, cinophile and fan alike. Something to experience live, indescribable. And aside from a certain extension in simple interweaving, in the almost standardized repetition of events (where relationships and actions are the key to the success of the whole), Top Gun: Maverick manages to replicate the miracle made with modernity, respect and care in 86 by Tony Scott: propose a unique and innovative way to create cinema.

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