Peter Debruge Chief Film CriticThe world is not the same place it was in 1986, when “Top Gun” ruled the box office. In Ronald Reagan, America had a movie star for a president, and producers Jerry Bruckheimer and Don Simpson as its honorary ministers of propaganda.
The same year that “Platoon” challenged the United States’ militaristic track record, “Top Gun” sold a thrilling if narrow-minded fantasy of American exceptionalism — of boys and their toys, of no-homo bromance and what it means to be the best.
Three years after Tom Cruise flipped the bird to a Russian MiG fighter plane, the Berlin Wall fell. Two years later, the Soviet Union collapsed.One could argue that our new, post-Cold War world didn’t need a “Top Gun” sequel. (Tom Cruise himself once insisted as much.) But one would be wrong to do so.
Building on the three-parts-steel-to-one-part-corn equation that director Tony Scott so effectively set 36 years earlier, the new film more than merits its existence, mirroring Cruise’s character, Pete “Maverick” Mitchell, in pushing the limits of what the machine could do — the machine in this case being cinema, which takes to the skies as no blockbuster has before.
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