“Top Gun: Maverick,” Reviewed: Tom Cruise Takes Empty Thrills to New Heights

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“Top Gun: Maverick,” Reviewed: Tom Cruise Takes Empty Thrills to New Heights
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The airborne scenes in the “Top Gun” sequel “are some of the most impressive and exciting—and strikingly simple—action sequences that I’ve seen in a while,” tnyfrontrow writes.

When Ronald Reagan was elected President, in 1980, it seemed only slightly more absurd than if Ronald McDonald had won. Both were entertainers, but the burger clown knew it, whereas Reagan believed the nostalgic and noxious verities of the movies that he had appeared in—and as a politician he attempted to force modern American life to conform to them. Thus “Top Gun,” which I saw when it came out, in 1986, felt like the cultural nadir of a time that was itself something of a nadir.

Yet soon another admiral, Beau Simpson, played by Jon Hamm, sidelines Maverick and changes the mission’s parameters. In response, Maverick steals another plane and undertakes another unauthorized and dangerous flight, thereby justifying his own set of parameters to Cyclone—who orders him back to lead the younger flyers.

By contrast, “Maverick” allows for no such doubts or hesitations. There’s certainly danger in the film, including a pilot who passes out midair and needs to be rescued. Maverick himself ends up in some perilous straits. But none of these situations suggests any weakness or failure of will, any questioning of the mission or of the pilots’ own abilities.

In “Top Gun,” Maverick is a warrior who needs to master his emotions in order to serve his country and to protect his colleagues. In the new film, Maverick, nearing sixty, succeeds solely by giving in to his emotions, by expresslycontrolling them—and this, above all, is the doctrine that he imparts to young pilots: “Don’t think, just do.

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