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    Movie Review

    Top Gun: Maverick cruises past summer blockbusters with its need for real speed

    Alex Bentley
    May 25, 2022 | 3:45 pm
    Tom Cruise in Top Gun: Maverick.play icon
    Tom Cruise in Top Gun: Maverick.
    Photo courtesy of Paramount Pictures

    So many different movie and TV properties from the 1980s have been rebooted or reimagined over the years that it’s a wonder the decade still has anything to offer. But when Top Gun: Maverick, the sequel to 1986’s Top Gun, was announced, it marked something special, both because it had been over 30 years since the original, and because star Tom Cruise is still operating at the peak of his entertaining powers, a rarity for any longtime Hollywood A-lister.

    Cruise returns as Pete “Maverick” Mitchell, stuck at Captain in the ranks of Naval officers because he still has a penchant for disobeying orders from his superiors. One such stunt that opens the film in a stellar way has Maverick sent back to North Island in San Diego to train the best of the best Top Gun graduates for a special mission overseas, a teaching job that his superior, Beau “Cyclone” Simpson (Jon Hamm), promises will be Maverick’s last post ever.

    Of course, Maverick has no intention of teaching “by the rules,” and so he guides his trainees — which include Jake “Hangman” Seresin (Glen Powell), Bradley “Rooster” Bradshaw (Miles Teller), and Natasha “Phoenix” Trace (Monica Barbaro) — through a series of increasingly risky flight sessions, all to get them prepared for a seemingly impossible scenario.

    Directed by Joseph Kosinski and written by Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie, this is the final major movie that was scheduled for release in 2020 to finally make it to the big screen. And even though some have been frustrated by its multiple delays, the wait was well worth it, as the high-flying action, with the audience right there in the planes for much of it, can only properly be enjoyed in an all-encompassing environment.

    Some sequels try to change things up to offer something new, and some say “if it ain’t broke, don’t fix it.” Maverick falls squarely in that second category, as it essentially offers up the greatest hits from the original in a slightly repackaged manner. You have Rooster, the son of Goose (Anthony Edwards), singing “Great Balls of Fire” just like his dad. You have Maverick romancing Penny (Jennifer Connelly), a bar owner who’s his equal in many ways, just as Charlie (Kelly McGillis) was. You have the Top Gun pilots engaging in a game of shirtless beach football, a tip of the hat to the shirtless beach volleyball game from the first film.

    But what everyone really wants is to be wowed by the fighter plane action, and the film does not disappoint. There’s nothing quite like the thrill of seeing planes fly at hundreds of miles an hour in close proximity to one another, and the effect increases exponentially when we’re put in the cockpit with Cruise or others. Seeing the actors actually experience the debilitating effects of g-force while in a steep ascent ups the verisimilitude of the film so much that you find yourself holding your breath due to the tension.

    The actual mission the pilots are training for is a bit nebulous. The filmmakers make sure that the target, a uranium facility that’s about to become operational, is located in an unnamed country to thwart any unnecessary hand-wringing about maligning a certain area of the world or its people. This lack of specificity keeps that part of the story from meaning all that much, but in the end all we care about is the pilots and their skills.

    I’ve said it many times before, but no other superstar actor gives more to his chosen craft than Cruise. He’s right there in the plane, on the motorcycle, and on the beach, mixing it up with people 25-30 years younger than him, and not seeming out of place in the slightest. The young pilots are all cast well, from established people like Teller and Powell to lesser-knowns like Barbaro, Lewis Pullman, and Jay Ellis.

    What makes Top Gun: Maverick as successful as the original is the willingness to go against the grain of 21st century moviemaking and forgo obvious CGI. The planes, the pilots, and their need for real speed is what makes a Top Gun movie special, and the filmmakers deliver in almost every possible way.

    ---

    Top Gun: Maverick opens in theaters on May 27.

    Tom Cruise in Top Gun: Maverick.

    Tom Cruise, Top Gun Maverick
    Photo courtesy of Paramount Pictures
    Tom Cruise in Top Gun: Maverick.
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    Movie Review

    Comedy all-stars Jack Black and Paul Rudd can't save Anaconda sequel

    Alex Bentley
    Dec 26, 2025 | 1:01 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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