It’s been a full 36 years since the release of the phenomenal Top Gun, a 1986 movie which remains one of Tom Cruise’s greatest ever films; a big, brash, arrogant, chest-pounding, patriotic love letter to the United States’ military; which is about as ’80s as you can imagine, and every bit as brilliant today as it was at the time. And now, four decades later, Cruise is back with a sequel worth waiting for in Top Gun: Maverick.
The navy might have changed since the ’80s, but Cruise’s Pete ‘Maverick’ Mitchell is every bit the insolent flyboy he always was; a rebel, playing by his own rules and stuck at the rank of Captain for 40 years as he continues to do things his own way and ignore the orders of those above. After another incident almost gets him fired, he’s rescued by old-pal ‘Iceman’ (Val Kilmer), sent to become the latest Top Gun instructor, and tasked with readying a group of promising young pilots for what’s basically an un-flyable suicide mission.
Said pilots include the typical stereotypes; an arrogant, ‘nobody is as good as me’ blowhard named Hangman (Glen Powell, Hidden Figures); the nerd (Lewis Pullman, Outer Range); the girl (Monica Barbaro, The Good Cop); and other expected two-dimensional tropes, alongside the son of Maverick’s former co-pilot Goose; Bradley Bradshaw, a.k.a ‘Rooster’ (Miles Teller, Whiplash).
It’s the relationship between Maverick and Rooster which forms the crux of the tale; as animosity, guilt, and resentment over Goose’s death, as well as Pete’s actions during the interim years, have caused a rift between the two, and Top Gun: Maverick is basically the pair coming to terms with Goose’s death all those years ago. On top of that family drama, Maverick’s own romance plot, and the fact Top Gun: Maverick is basically a heist film (after Maverick’s quirky character intro we have the mission outlined, see him assemble the team, come up with the plan, practice, and then execute and adjust as things change), there’s plenty here to keep you engaged.
Not only that, but the direction and cinematography are both undeniably fantastic. It’s a shame Tony Scott was unable to return, but Joseph Kosinski (the Tron: Legacy director who previously worked with Cruise on Oblivion) has delivered a stunning, visually-striking, cinematic feast for the eyes; where it’s perpetually golden-hour (or dimly lit with twinkly lights), and everything is bathed in this warm yellowy-orange glow which just looks so damn cool.
Maverick needed to be cool, because the original was; and it’s a testament to the original Top Gun that Maverick starts in the exact same way as the first film; opening with several minutes of shots of fighter planes taking off and landing from a naval ship, bathed in that brilliant orange hue, and complete with the classic Top Gun Anthem, and Danger Zone. It’s so perfect it still works, and will not only fill long-time fans with nostalgic glee but leave newcomers in awe.
The music is also excellent. Of course the Anthem, and Danger Zone make appearances, but the new score is brilliant (often harkens back to the first film), and the soundtrack itself is also solid. Obviously any new movie was never going to come close to the perfection of the original Top Gun soundtrack (we’re missing Mighty Wings, Playing With The Boys, and Take My Breath Away), but new inclusions from Lady Gaga work well, hearing a David Bowie song when we first see Jennifer Connelly appear as Maverick’s love interest was a nice nod to Labyrinth, and even Great Balls of Fire makes a reappearance.
Great Balls of Fire actually comes up much in the same way it did in the first movie (and is accompanied by a flashback reminding everyone why it’s so important), and that should be no surprise; as Top Gun: Maverick not only runs with essentially the same plot as the original, but basically follows the exact same beats as the first film (although they do switch from volleyball to beach football this time out). Proving the odd adage, if it ain’t broke, don’t fix it; and it clearly still works.
Maverick is sadly a touch more serious than the first film (where it was more about the competition than an external threat, and neither ageing nor death loomed over the proceedings), but there is a spattering of humour sprinkled throughout, and the film still gives a great time, and remains enjoyable throughout. It’s a hell of a lot of fun, and filled with some of the most awesome flying you’re ever likely to see on film.
Add in the fact the cast are excellent (even if not all of their characters are fully fleshed out); Powell somehow remains likeable as Hangman (the arrogant flyer who’s this generation’s Iceman), Monica Barbaro is always engaging as Phoenix, and Jennifer Connelly gives weight, presence, and likability to a fairly basic love interest for Maverick. Appearances from the likes of John Hamm (Baby Driver), and Ed Harris (The Rock) are welcome additions, and it was so good to see Val Kilmer back on screen as Iceman (especially given his real-life health issues).
Still, it’s Tom Cruise who’s clearly front and centre (the film is even named after his character), and he once again delivers a fantastic showing; he’s cocky but likeable, vulnerable at times, and always completely believable as an aged Maverick. It was a joy to see him return to such an iconic role, and even better as it was balanced well against newcomers; specifically Miles Teller, who’s not only an underrated gem of his generation, but delivers on every single mark and character beat (being filled with hidden rage, sadness, and a reluctance to push himself due to the death of his father, whilst also mirroring Anthony Edwards’ performance of Goose yet becoming his own man at the same time), and he is more than capable of holding his own against big-screen legend Cruise.
In short, Top Gun: Maverick is awesome. It’s fun, it’s exciting, it’s got drama, comedy, action, a fantastic cast, plenty of nostalgia-inducing moments (complete with motorbikes, classic jackets, sunglasses, and unforgettable music), as well as some truly amazing flying, all shot in the most beautiful manner possible. It’s enjoyable ’80s escapism, back on the big screen again, and sure it might copy the original in every conceivable way, but it’s also different enough to be its own thing, to honour the past and still give us something new.
It’s the perfect film for fans of the original and newcomer alike. A fantastic cinematic experience (thankfully held back through lockdowns to get the proper cinematic release it deserves), and a sequel worth waiting for.
