However, it’s clear that very few can command the screen like he does, and he shows that off in spades. If that sounds self-aggrandizing on his part, it kind of is. When he talks about how he might not be able to keep flying much longer, that might as well be Cruise himself talking about being one of the last true-and-blue movie stars of his era. He easily slips back into Maverick’s shoes like no time has passed, because it’s clear Maverick is the role closest to Cruise’s actual personality. Make no mistake about it, though: This is the Tom Cruise show. The script, penned by Ehren Kruger, Eric Warren Singer and frequent Cruise collaborator Christopher McQuarrie, does a great job at making Maverick come to terms with himself and his relationships with the people around him, whether it be his guilt surrounding Goose’s death, reconnecting with old flame Penny (Jennifer Connelly) or even sharing a touching moment with his old friend/rival Iceman ( Val Kilmer). “Making a decades-later sequel to a beloved property is always a big gamble, which makes it all the more shocking that Top Gun: Maverick turned out as amazing as it did.” In fact, the most surprising thing about Top Gun: Maverick is how much it humanizes its main character. That being said, the movie doesn’t feel like it’s constantly revelling in these callbacks as opposed to other 80s legacy sequels like Ghostbusters: Afterlife. Its “legacy sequel” status means a lot of the iconography from the first has to be referenced, from a sunset-lit shirtless game of beach football, to a near-exact recreation of the opening credits, Danger Zone needle drop included.
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