Joseph Kosinski’s “Top Gun: Maverick”

Top Gun: Maverick (2022)

Terrific flight sequences sandwiched by nostalgic soap opera melodrama with tokenised women and minorities sidelined in what at times feels like an extended commercial for men’s hair dye in a jingoistic frame

Starting on a positive note, the flight sequences are fantastic and the visceral impact of their real world production goes a long way toward immersing the audience. Between these sequences, the melodrama ticks along like clockwork and though predictable is well-executed. The entire side story with Jennifer Connelly as the new love interest is entirely unnecessary. What this also highlights is a double standard among the male and female actors; Kelly McGillis was never invited back. There’s also a more diverse cast this time but any minorities or women are strictly kept to the sidelines. Miles Teller(Rooster) has the most to play with here and does well.

The plot deals with what is essentially a Death Star run into Iran to destroy a uranium enrichment facility. In place of the Force, we get Cruise’s Obi Wan saying “Don’t think, just do”. What is effective about the melodrama is the establishment of the relationship between Rooster(Teller) and Maverick(Cruise) which finally gets full attention in the last (and most effective) third of the film before returning to a product placement for a Porsche(not kidding).

I think as a sequel to Top Gun, it does well and is probably a superior film in many ways, but it also brings back some weaknesses and concerns around the original too such as the Navy using the films as recruitment material and being involved in the development of the films alongside the United States Department of Defense. It would be harmless if there weren’t people out there who will believe the hokum.