Pete Mitchell, nicknamed Maverick, has remained one of the Navy’s best pilots for more than 30 years: a fearless test pilot, he pushes the boundaries of what is possible and studiously avoids a promotion that would force him to land for good. As he begins training a squadron of Top Gun graduates for a special mission, Maverick meets Lieutenant Bradley Bradshaw, son of his late friend, Lieutenant Nick Bradshaw.
Uncertainty lies ahead, with the ghosts of the past behind him. Maverick is forced to confront his underlying fears, which threaten to come alive in a mission that requires exceptional dedication on the part of those assigned to the flight.
4k movies reviews
TOP GUN (1986)
I like his filmography (The Last Boy Scout, Revenge, Rage, Days of Thunder, Enemy of the State, True Love, Deja Vu, etc.), he did not shoot any trash, though he did not go into religious delirium and art-house extravagances. He was a hard worker, and he died like a true creator, jumping off a 56-meter bridge in LA, blurting out in his last interview that “As a filmmaker he lived on the edge. And that’s the scariest and most dangerous thing you can do in life, because you’re constantly haunted by the fear of failure, of losing face and feeling guilty in front of people who believe in you.” So, the original movie was his debut studio work, which immediately set the trend for action movies, instilled a fashion for orange filters, action porn, and forged Tom Cruise into the kind of guy who is always running around and doing roofie stunts. It was wow cool then and even today, if you watch the movie from ’86, you can be pleasantly surprised by how much it is not outdated in its filming technique and presentation of visual material on the screen. A living classic.
TOP GUN: MAVERICK
The movie of 2022 is made as if to pay homage to the original and to the whole cinema of the beginning of the 80’s, it is full of nostalgia and every frame screams to go back to the times, when there were no VFX graphics, when everything was made by hands and magic of cinema. Where if you had to shoot on a ship, you went to a warship and shot. That’s what Tony did and Joseph Kossinski did, as if he were doing an experiment on himself, trying to emulate the creator. And it’s so cool that in places it looks like they got the whole U.S. Army involved to do that on screen. True, they couldn’t help it and at the end they made one scene of ‘graphing’, but it was very short and didn’t spoil the whole impression.
It’s the case when you can enjoy the beauty of a shot, for once the cameraman doesn’t get nervous, doesn’t jerk the camera, it’s often static or follows the actor calmly. I noticed that noir tricks are used, silhouette shots, backlighting, there are even classic dialogue scenes at the blinds. There are a lot of tricks, but most importantly, they don’t irritate the eye. Everything works competently for quality: frame composition, lenses, editing and color. The artwork and makeup is top notch, everything is in the detail, sweat drops, retro pics, patches, costumes, helmet designs, dashboards, militarized interfaces, kayf.
The plot is not worth telling, it is not a godsend and clearly carries mediocre value on paper. But it’s definitely a case where it’s a pleasure to watch the actors in the frame. Tom is eternally young and in perfect shape again; Jennifer Connelly is a beautiful and appealing woman; Val Kilmer was filmed stricken with a real illness, you sympathize with him just by seeing him; Miles Telles is step by step a great actor and a favorite of J. Kosinski, perhaps his best role since Whiplash, or maybe not, since he starred in Refn.
CINEMATOGRAPHY FOR THEATERS.
The movie is strictly for the theatrical screening, and if you can, it’s better in IMAX, don’t deny yourself. I understand the studio and Tom waiting two years for the pandemic to subside. The roar of the engines makes you so squeezed into your seat that after the first flight you’re already sitting in the cockpit of the F15 with the pilots and experiencing real overload. I never felt such an adrenaline rush on the Super 8 as I did in the dogfighting scenes and dizzying maneuvers. The cockpit view and sound design work for total immersion. The perfect format for a movie like this.
And lastly, the closing credits, “dedicated to Tony Scott,” made me realize again that the movie lives and evolves, drawing the best from generation to generation. And most importantly, it touches me even more from the inside and awakens the brightest feelings in such difficult times.
Codec: HEVC / H.265 (67.2 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 2.39:1, 1.90:1
Original aspect ratio: 2.39:1
English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
Czech: Dolby Digital 5.1
Spanish: Dolby Digital 5.1 (640 kbps)
Spanish: Dolby Digital 5.1 (640 kbps)
French (Canada): Dolby Digital 5.1
Italian: Dolby Digital 5.1 (640 kbps)
Hungarian: Dolby Digital 5.1 (640 kbps)
Polish: Dolby Digital 5.1 (640 kbps)
English, English SDH, French, Italian, Portuguese, Spanish, Cantonese, Czech, Danish, Finnish, Hungarian, Korean, Mandarin (Simplified), Mandarin (Traditional), Norwegian, Polish, Romanian, Slovak, Swedish, Thai.