It’s a film about planes and flying planes and people who fly planes and like the recent retconned Halloween hits, doesn’t rely on a convoluted backstory, such as the doomed Terminator franchise did (one could enjoy it as a standalone film without having seen the original). First, unlike other follow-ups to dusted off classics, the entry point for Maverick was far easier for younger, less familiar audiences. Rightwingers laughably claimed such success was down to the film being pro-America and “anti-woke” (a dumb assertion that fails to correlate with other monster hits that have embraced more diversity) but its popularity can be more easily traced to two things. So there were dropped jaws all around when back in May, it not only opened big but opened bigger than anything Cruise has ever starred in before, flying high for the rest of the summer, making $1.3bn globally and counting (it recently surpassed Titanic to become the seventh biggest film of all time in the US). Tom Cruise’s box office appeal outside of the Mission: Impossible films has been so spotty that he barely makes anything but Mission: Impossible films now and while the original holds a firm place in Hollywood history, it’s not received a noticeable second life with the advent of streaming. There was understandable caution surrounding the belated release of Top Gun: Maverick, an expensive, much-delayed sequel (announced in 2010, filmed in 2018) to an 80s film that wasn’t exactly calling out for one.
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