Film, Reviews, Top Gun

TOP GUN: MAVERICK is heartfelt, old-fashioned, joyous blockbuster filmmaking (Film Review)

Though one of the staple examples of 1980s blockbuster filmmaking, nobody truly expected Top Gun to either have or need a sequel, especially not approaching forty years on.

The so-called ‘legacyquel’, coined to describe sequels to existing properties that arrive long after the original picture or films, has been in vogue over the last 5-10 years in everything from Terminator: Dark Fate to Bill and Ted Face the Music. The results have been frequently a mixed bag with some franchises unable to recapture the magic or flair of the original movies. One of the reasons Top Gun: Maverick—which at 36 years after its predecessor stands as one of the more distant examples of the form—works so well is that it doesn’t have a masterpiece to try and emulate.

You’ll be hard pressed to find someone who watched Top Gun and actively hated it or at least believed it was poor filmmaking. Aside from permeating popular culture to a degree only 80s pictures such as Back to the Future or Indiana Jones managed, Tony Scott’s original movie balanced kitsch 80s action, plenty of testosterone-fuelled coded homoeroticism, sun-kissed American landscapes and a brace of exuberant rock to deliver a picture built largely on Tom Cruise’s nascent charisma and a gung-ho celebration of American exceptionalism. While a staple of its era, Top Gun is not a great piece of cinema.

This leaves Top Gun: Maverick plenty of leg room to both evoke the beloved film before it and craft something contemporary. The fact it does this, and does it so well, is a testament to everyone involved. It is, easily, the finest ‘legacyquel’ to date ever made.

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Film, Writing

Bill, Ted & the Dark Fate of the Legacyquel

With the arrival of Bill & Ted Face the Music, we find ourselves facing down the latest example of what has become known as the ‘legacyquel’.
First coined in late 2015 by Matt Singer in a piece for ScreenCrush, in advance of Star Wars: The Force Awakens, the legacyquel operates from different principles than a traditional, standard follow up. The standard sequel continues the established story introduced in the original narrative – The Godfather Part II, for example. A legacyquel revives a property and the characters we came to know, years after the fact, often once they have been immortalised in popular culture – The Godfather Part III, for example, which gave us the final part of Michael Corleone’s tragic story sixteen years after we last saw him. Such immense gaps of time are common in sequels which are expressly designed to recapture, in the audience, a sense of reconnection with worlds and characters, and indeed the actors who play them, who mean a great deal to us.

This is certainly the case with Bill & Ted Face the Music, which expressly delivers another key aspect of the legacyquel – familiarity. Most legacyquels do not rock the creative boat and if they do, it is for a specific reason; a good example that bucks the trend is Star Trek 2009, which J. J. Abrams uses as both a legacyquel (allowing us to reconnect with Leonard Nimoy) and canonical reboot in which we rediscover Kirk & Spock while experiencing their origin stories. Star Trek in that sense is an aberration, with most legacyquels operating to the Bill & Ted principle: more of the same, with a much longer gap. This is the appeal of the legacyquel. Reboots offer nostalgia while exploring new ideas. Sequels or continuing franchises build on what has come before. Legacyquels are all about bringing you ‘home’ again.
This was, in many respects, the intention behind Terminator: Dark Fate. What saddens me is that it didn’t really work.
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