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As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taugh... Read all As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taught in the classroom. As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taught in the classroom.

• Jack Epps Jr.
• Tim Robbins
• Kelly McGillis
• 853 User reviews
• 192 Critic reviews
• 50 Metascore
• 11 wins & 9 nominations total

• Air Boss Johnson

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• Production, box office & more at IMDbPro

Who Was Almost Cast in 'Top Gun'?

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• Trivia Stunt pilot Art Scholl was killed during the production of the movie, aged 54. He died when his Pitts S-2 camera plane failed to recover from a flat spin and plunged into the Pacific Ocean. Scholl's last words over the radio were "I have a problem - I have a real problem." The exact cause of the crash was never determined, and neither the aircraft nor Scholl's body were ever recovered. The film is dedicated to him.
• Goofs The term "bogey" is misused throughout the movie. A bogey is an unidentified aircraft. Once identified, it is referred to as a "friendly" (for friendly aircraft), "bandit" (for non-friendly aircraft) or "hostile" (for non-friendly aircraft that may be fired at). In USN terminology, a non-friendly surface radar contact is a "skunk".

Iceman : You! You are still dangerous. But you can be my wingman any time.

Maverick : Bullshit! You can be mine.

• Crazy credits The opening credits sequence features a history of the Top Gun program before the title of the film appears on screen, with the remainder of the opening credits devoted to footage of planes being launched from and landing on an aircraft carrier.
• Alternate versions The version of the film shown on the Paramount Network has nearly all of the profane language intact (basically everything but the word "shit"). However, this version also randomly cuts out several scenes and parts of scenes, presumably to fit in the network time slot allotted. Scenes missing altogether include (but are certainly not limited to) Maverick and Goose conversing in their housing regarding whether or not they'll graduate, and Jester and Viper conversing, with Viper revealing hew knew Maverick's "old man." The latter is especially surprising considering this plot point plays a major role in a later scene.
• Connections Edited into MacGyver: GX-1 (1987)
• Soundtracks Danger Zone Written by Giorgio Moroder & Tom Whitlock Performed by Kenny Loggins Produced by Giorgio Moroder Kenny Loggins courtesy of CBS Records

User reviews 853

• Nov 3, 2002

Everything New on Prime Video in April

• How long is Top Gun? Powered by Alexa
• What military conflict is going on in the movie? Is there an actual war, or just one isolated incident against Soviet fighter planes for some reason?
• What is Top Gun about?
• The soundtrack has a song called "Through The Fire" but does that song actually appear in the movie?
• May 16, 1986 (United States)
• United States
• 102 Pacific Street, Oceanside, California, USA (Charlie's house)
• Paramount Pictures
• Don Simpson/Jerry Bruckheimer Films
• See more company credits at IMDbPro
• $15,000,000 (estimated)
• $180,258,178
• May 18, 1986
• $357,288,178

Technical specs

• Runtime 1 hour 49 minutes
• Dolby Stereo
• Dolby Digital
• Dolby Digital EX
• Dolby Atmos

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Top Gun: Maverick’s director explains how he convinced Tom Cruise to come back

“I had 30 minutes to pitch this film. When I got there, I found Tom really didn’t want to make another Top Gun .”

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Nearly 40 years ago, Top Gun made moviegoers feel a small fraction of the thrill that comes with being a fighter pilot — in part thanks to Kenny Loggins’ anthem “Danger Zone,” but also largely due to the talents of the cast and crew, under the direction of the late Tony Scott. Arriving in theaters decades later, Top Gun: Maverick has to do right not just by the fans, but by the first film’s creators. How do you make audiences accustomed to the casual magic of CGI feel like they’re in the cockpit with these pilots in 2022 the way Top Gun did in 1986? For director Joe Kosinski, the answer was: You do it for real.

As his previous films Tron: Legacy and Oblivion prove, Kosinski is accomplished at both making unlikely sequels to decades-old films and delivering blockbuster action starring Tom Cruise. Top Gun: Maverick shows the director combining these talents for a throwback summer blockbuster that feels real in a way big-budget movies haven’t in some time.

In a call with Polygon, Kosinski dove into the way Top Gun: Maverick makes viewers feel like they’re in those jets, how he convinced Tom Cruise to star, and how the right villain for a Top Gun movie might just be no one.

Polygon: Let’s start with your connection to Top Gun . What was your experience like with the first movie?

Joseph Kosinski: I saw the movie for the first time as a 12-year-old kid, and for me, it was the prototype for the ultimate summer movie. It made Tom Cruise a superstar, and [producer Jerry] Bruckheimer and [producer Don] Simpson had done Beverly Hills Cop and Flashdance at that point. When you saw that dual lightning strike at the beginning of a movie, it meant you were gonna have a good time.

But otherwise, it was not necessarily a movie that I had revisited a lot, until Jerry sent over an early version of a script in 2017 that he wanted me to take a look at. I’d made [ Oblivion ] with Tom at that point, and obviously had an incredible experience doing that.

Was everyone on board for Maverick from the start?

So I read the script, I had some ideas, and Jerry liked those ideas. He said, “You know what, you gotta go pitch this to Tom directly.” So we flew to Paris, where Tom was shooting Mission: Impossible , we got about a half hour of his time between setups. And I basically had 30 minutes to pitch this film, which I didn’t realize when we were flying over. But when I got there, I found that Tom really didn’t want to make another Top Gun .

It’s one of those moments as a director, you have one on every film, where you’re on the spot to make a case for why this movie should be made. I had 30 minutes to do it. And at the end of the pitch, he picked up the phone, he called the head of Paramount Pictures and said, “We’re making another Top Gun .” It’s pretty impressive to see the power of a real movie star in that moment.

How did you pitch it to Tom Cruise? Did he tell you what convinced him?

Well, I worked with Tom, and I knew to start with character and emotion. I just pitched this idea of Bradley Bradshaw (Miles Teller) growing up to become a naval aviator, and him and Maverick having this fractured relationship that had never been repaired. With Maverick getting called back to train this group of students to go on a mission that he knows is very, very dangerous.

The conflict [is about] the difference between being an aviator who goes in and risks his own life, and someone who’s in a more senior position that has to send others in to risk their lives. I talked to some Navy admirals who talked about that difference. It’s a different sort of pressure, it’s almost harder to send others in rather than go yourself. And to me, it felt like that leveraged the emotion of the past film and those relationships that we all love, but took it in a new direction. So that’s where I started.

I think that was honestly the element that really grabbed Tom, because it gave him an emotional reason to return to this character. The second thing was, what’s Maverick been doing? You know, where do we find him? And this is kind of my own passion, you know, coming through and pitching the Darkstar sequence [in the beginning], just being someone who has always loved airplanes and aerospace and studied aerospace engineering and mechanical engineering and loved The Right Stuff . So the idea of finding him as a test pilot on the bleeding edge of what’s possible seemed to me like the perfect way to find him, and Tom loved that.

He also must’ve loved how you planned to shoot this.

I showed him some videos of Navy pilots who put GoPros in their cockpits, and I said, “You know, this is out on the internet for free. If we can’t beat this, there’s no point in making this.” And he agreed. And then finally, I just had the title, you know, which I think kind of summed it all up. “We aren’t going to call it Top Gun 2 , we’re going to call it Top Gun: Maverick .” It’s a character-driven story, a drama with this giant action film around it. And that to me was what a Top Gun movie is.

Let’s talk a little bit about that Darkstar sequence. Jerry Bruckheimer says you were heavily involved in its conception.

Yeah, I mean, it was my dream. Skunk Works is this division of Lockheed that makes these planes that are top secret. They fly at night, no one knows they exist. We find out about them 20, 30 years after they fly.

I had just done a movie that was financed by Fred Smith, who is the founder of FedEx. And he told me he had a contact at Lockheed. He had just done a tour there — it helps to have friends in high places. He set up a meeting between Jerry, I, and Skunk Works, and we drove out into the middle of Palmdale and met with their senior staff. And I just said, “Listen, I want to put an airplane in this film that does this , this , and this . I know you guys have some experience in that area. We’re gonna give people a glimpse of something they’ve never seen before.”

And they said yes. I think the real reason they helped us was so we could make it as real as possible, but not too real, you know? We changed a couple of details so we’re not giving any secrets away, but it has a lot of features and details for people who really are into this world. I think they’ll get a kick out of it.

How do you get people excited about these pilots and the planes? Like other people I’ve talked to about it, I had an experience watching this, like, “Apparently I really like planes. Have I always been this way?”

Our approach is a classic movie approach. The only thing they could do in the ’80s was capture this stuff, at least the exterior shots, for real. You just can’t fake what it feels like to be in one of these jets, the forces, the way the light changes, the vibration, the sense of speed, all of that. There’s just no replacement for that.

I’ve noticed that people see this movie, and they just keep saying the same thing over and over: “It just feels so real.” And it’s funny, because maybe we’ve lost track of that a little bit with fantasy films or superhero films, where they’re creating images that you can’t capture for real. So you rely on CGI. But there’s just something different about capturing it for real. And for this film, we found a way to do it. And it just feels different.

In the original Top Gun , the villains aren’t really named. In Maverick , the pilots are training for a mission against a vague “shadow state.” What went into that decision?

It was specifically designed to be a faceless, nameless enemy, just like the first film. You know, this is a movie about friendship and sacrifice and teamwork and competition, just like the first film. It’s not a movie about geopolitics. We didn’t want it to be. So we designed it that way — the jets are fictional, they’re faceless enemies. The mission itself is about keeping the world safe.

And that was all by design, just because we wanted the focus to be on on the Maverick story, and his relationship with these characters. We made the movie in 2018. We started filming in 2018. And, you know, the world changes constantly. It’s really hard to make something that feels relevant, because the world is always changing.

Review: Tom Cruise flies high — again — in the exhilarating ‘Top Gun: Maverick’

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“If you think, you’re dead.” That’s one of Tom Cruise’s more memorable lines from “Top Gun,” a cautionary reminder that when your engine flames out or an enemy pilot locks you in their sights, hesitation means death. Inadvertently, the line also suggests the best way to enjoy Tony Scott’s immortal 1986 blockbuster: Best not to think too long or hard about the dumb plot, the threadbare romance, the fetishization of U.S. military might or the de rigueur plausibility issues. The key is to succumb, like Cruise’s high-flying Maverick himself, to a world of unchecked instinct and pure sensation, to savor the movie’s symphony of screaming jets and booming Giorgio Moroder, not to mention all those lovingly photographed torsos and tighty-whities.

Jets still scream and muscles still gleam in the ridiculous and often ridiculously entertaining “Top Gun: Maverick,” though in several respects, the movie evinces — and rewards — an unusual investment of brainpower. I’d go further and say that it offers its own decisive reversal of Maverick’s dubious logic: It has plenty on its mind, and it’s gloriously alive.

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The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic . Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the CDC and local health officials .

A lot of consideration and calculation have clearly gone into this long-aborning blockbuster sequel, insofar as Cruise (one of the producers) and his collaborators have taken such clear pains to maintain continuity with the events, if not the style, of the first film. That’s no small thing, more than 30 years after the fiery young Maverick lost Goose, made peace with Iceman and rode off into the annals of fictional U.S. Navy history. And rather than let bygones be bygones, the director Joseph Kosinski and a trio of screenwriters (Ehren Kruger, Eric Warren Singer and Cruise’s favorite auteur-wingman, Christopher McQuarrie) have resurrected those threads of rivalry, tragedy and triumph and spun them into uncharted realms of male-weepie grandiosity.

Some of this continuity is a matter of basic story sense, rooted in a shrewd understanding of franchise mechanics and an equally savvy appeal to ’80s nostalgia. But it also has something to do with the 59-year-old Cruise’s close stewardship of his own superhuman image, a commitment that speaks to his talent as well as his monomania. And with the arguable exception of “Mission: Impossible’s” Ethan Hunt, few Cruise characters have felt as aligned with that monomania as Maverick. From the moment he entered the frame in ’86, sporting flippant aviator shades and riding a Kawasaki motorcycle, Pete “Maverick” Mitchell announced himself as a signature Cruise creation — a precision-tooled amalgam of underwear-dancing sex symbol (just three years after “Risky Business”) and the envelope-pushing, heights-scaling action star he would become.

These days, the need for speed still persists for both Cruise and Maverick, even if the latter does more flying than running. But for all the barriers he’s broken and all the miles he’s logged in his career as a Navy test pilot, Maverick occupies a state of self-willed professional stasis. Unwilling to be promoted into desk-job irrelevancy, he is a captain by rank and a rebel by nature. The opening sequence finds him playing Icarus with one of the Navy’s shiny new toys, thumbing his nose in the process at the first of the movie’s two glowering authoritarians. (They’re played by Ed Harris and Jon Hamm.) Old habits die hard, but so do the ghosts of the past, and Maverick, for all his reckless abandon in the cockpit, will soon find himself breaking his own rules by thinking more carefully, and tactically, than he’s ever had to do before.

Called back to the elite Navy training school where he flew planes, defied orders and irritated his peers with distinction, Maverick is charged with preparing the program’s best and brightest for a stealth attack on a far-flung uranium enrichment plant owned by some conveniently unidentified NATO-threatening entity. As impossible missions go, it makes the Death Star trench attack look like a grocery run — a tough assignment for Maverick’s 12 brilliant but still-untested pilots, played by actors including Lewis Pullman, Jay Ellis, Danny Ramirez and a terrific Glen Powell as a smug, know-it-all Iceman type. And then there’s the hotheaded Rooster (Miles Teller, sullen as only he can be), whose candidacy is complicated by the fact that his late father was Maverick’s wingman and best friend, Goose (the great Anthony Edwards, seen here in brief shards of footage from the first “Top Gun”). Talk about chickens coming home to roost.

Rooster’s background is a ludicrous contrivance. It’s also the perfect setup for the kind of rich, thorny cross-generational soap opera that — as much as its aspect-ratio-fluctuating flight sequences and its climactic surge of Lady Gaga — is this movie’s reason for being. Those planes may be powered by fuel, but “Top Gun: Maverick” runs on pure, unfiltered dad energy. Try not to smile whenever Cruise’s Maverick flashes a mischievous avuncular grin beneath his helmet and chases his young charges in F/A-18s all over the Mojave Desert, teaching them new moves while wasting no chance to reassert his own superiority. Back on the ground, Maverick and Rooster’s surrogate daddy-son tensions flare into the open, exacerbated by guilt, resentment and their recognition of their shared stubbornness.

The drama might have taken on an intriguingly Oedipal edge if the filmmakers had thought to bring back, say, Meg Ryan as Carole, Goose’s wife and Rooster’s mother. But here, with the exception of Monica Barbaro as one of Maverick’s most gifted proteges, women are few and far between, and even the more prominent ones get mostly perfunctory treatment. With no sign of Kelly McGillis as the Navy instructor who once took Maverick’s breath away, it falls to another flame, Penny (a lovely, underused Jennifer Connelly), to mix a few drinks, provide a flicker of romantic distraction and snuff out the first film’s lingering homoerotic vibes. Not that there are many such whiffs here, and more’s the pity: Kosinski, who previously directed Cruise in the shiny, empty science-fiction drama “Oblivion,” is a skilled craftsman with none of Scott’s horned-up filmmaking energy. (He does salute the original with an opening blast of “Danger Zone” and a rousing game of football in the surf, though the latter is more team-building than steam-building exercise.)

Scott’s admirers may miss that disreputable edge, the unrepentantly vulgar sensibility that made the original “Top Gun” a dreamy, voluptuous hoot. There’s some compensation in Kosinski’s fight and flight sequences, full of face-melting ascents, whiplash-inducing loop-de-loops and other airborne stunts that prove considerably more transporting and immersive than what the first “Top Gun” was able to accomplish. That’s only to be expected, given the more sophisticated hardware involved. Like any proper commercial for the military-industrial complex, “Top Gun: Maverick” teases the latest cutting-edge advances in aeronautics and defense technology, a field that has evolved roughly in step with an ever more digitally subsumed movie industry.

At the same time, thanks to Cruise and Kosinski’s unfashionable insistence on practical filmmaking and their refusal to lean too heavily on computer-generated visual effects, their sequel plays like a throwback in more than one sense. But the era that produced the first film has shifted, and “Top Gun: Maverick” is especially poignant in the ways, both subtle and overt, that it acknowledges the passage of time, the fading of youth and the shifting of its own status as a pop cultural phenomenon. The original was a risky, relatively low-budget underdog that somehow became a perfectly imperfect movie for its moment, soaring on the wings of its dreamy eroticism and recruitment-commercial aesthetics, a mega-hit soundtrack and an incandescent star. It ushered in a new era of decadence for its producers, Don Simpson and Jerry Bruckheimer, and for the many gung-ho American blockbusters they would keep cranking out.

“Top Gun: Maverick” is a longer, costlier and appreciably weightier affair, and its expanded emotional scope and heightened production values (including a score by the original film’s composer, Harold Faltermeyer) give it a classy, elegiac sheen; it’s like a hot summer diversion in prestige-dinosaur drag, or vice versa. As a rare big-budget Hollywood movie about men and women who fly without capes, it has a lot riding on it. Once set for a summer 2020 release but delayed almost two years by the pandemic, it arrives bearing the hopes and dreams of a tentatively resurgent industry that could use a non-Marvel theatrical hit. And as such, everything about its story — from the intergenerational conflict to the high stakes of Maverick’s mission to the rusted-out F-14s collecting dust at the periphery of the action — carries an unmistakable subtext. Is this movie one of the last gasps of a dying Hollywood empire? Or is its emotionally stirring, viscerally gripping and proudly old-fashioned storytelling the latest adrenaline shot that the industry so desperately needs?

It’s hard to consider any of this apart from Cruise, whose attention-grabbing actions during an earlier phase of the pandemic — shooting a video of himself going to see “Tenet” in a packed London theater , verbally lashing members of his “Mission: Impossible” crew for flouting COVID-19 protocols — suggest a man who’s placed the weight of an entire troubled industry on his own shoulders. His endless search for the perfect action vehicle has sometimes felt like a quest for some elusive fountain of Hollywood youth, and it’s led to gratifying highs ( “Edge of Tomorrow” ) and inexplicable lows ( “The Mummy” ). Like Maverick, to whom someone wise once said, “Son, your ego is writing checks that your body can’t cash,” Cruise just won’t quit, won’t give up, won’t listen to anyone who tells him no. As a sometime fan of Cruise’s egomania, at least when he’s dangling from a helicopter or literally running to catch a plane, I’m not really complaining.

And so there’s some irony and maybe even a hint of self-awareness in the fact that while Cruise owns just about every moment of this movie, another star winds up stealing it. As Iceman, Maverick’s old adversary turned wingman, mentor and ally, Val Kilmer haunts “Top Gun: Maverick” from its earliest moments but enters it surprisingly late, anchoring a perfectly timed, beautifully played scene that kicks the movie into emotional overdrive. Watching Ice as he greets and counsels Maverick, you may find yourself thinking about the actor playing him, about the recent toll on his health and the rickety trajectory of his own post-’80s and ’90s career, subjects that were illuminated by the recent documentary “Val.” In one fictional moment, he gives us something unmistakably, irreducibly real, partly by puncturing the fantasy of human invincibility that his co-star has never stopped trying to sell.

‘Top Gun: Maverick’

Rated: PG-13, for sequences of intense action, and some strong language Running time: 2 hours, 17 minutes Playing: Starts May 27 in general release

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Where to watch oscar-winning film ‘top gun: maverick’ online.

Here's where you can stream the Tom Cruise blockbuster and shop merch seen in the airborne action movie.

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Top Gun : Maverick soared at the global box office this summer — and the big-budget blockbuster is also flying high after winning an Oscar for best sound .

The Tom Cruise starrer also earned Academy Awards nominations for best picture, best adapted screenplay and best original song (for Lady Gaga and BloodPop’s “Hold My Hand”) in addition to two Golden Globes nods , including best motion picture in the drama category. (Despite his absence at the Oscars , Cruise still garnered plenty of attention at the ceremony.)

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Tom Cruise reprises his role as Pete “Maverick” Mitchell, who returns more than 30 years after the events in the original film to train the latest class of elite naval aviators. Original Top Gun star Val Kilmer appears briefly as Tom “Iceman” Kazansky, and the film also stars Miles Teller (as the son of Mav’s late pal and radar intercept officer, Goose), Jennifer Connelly, Jon Hamm, Ed Harris, Glen Powell, Monica Barbaro, Ed Harris, Lewis Pullman, Danny Ramirez, Charles Parnell, Bashir Salahuddin, Jay Ellis and Greg Tarzan Davis.

Below, keep reading to find out all of the ways to watch Top Gun: Maverick and the original film, plus where to shop the sunglasses seen onscreen and more Top Gun memorabilia.

Where to Watch Top Gun: Maverick Online

Top Gun: Maverick is available to stream online on Paramount+ ($5 to $10 monthly) and MGM+ ($6 monthly), which was previously Epix. A subscription is required for both streaming services, which each offer seven-day free trials.

You can also buy or rent Top Gun: Maverick and the original film on digital on Amazon Prime Video (on sale for $3 to $17 for a limited time), Google Play , iTunes , Vudu and YouTube Movies & Shows .

Paramount+ costs $5 per month for the ad-supported Essential plan or $10 monthly for the Premium option. Paramount+ also comes with a seven-day free trial, so new subscribers can watch Top Gun: Maverick for free during that period.

However, only the Premium tier lets you watch your local CBS station and live sports (including  March Madness , Champions League and  NFL games ), enjoy limited ads (only on live TV and select shows), stream on up to three devices, create profiles for other family members and download select shows to watch later.

MGM+ is available via traditional and digital cable TV customers (price varies), or you can subscribe to the standalone app for $6 per month or $50 annually for a limited time. The ad-free service includes access to MGM feature films such as House of Gucci , Licorice Pizza , Sonic the Hedgehog , the James Bond and Rocky franchises and more, plus original series such as Belgravia (the new period drama from Downton Abbey and Gilded Age creator Julian Fellowes), Billy the Kid and the third season of Godfather of Harlem , which debuted with the platform’s rebrand launch.

If you’re located outside of the U.S. and want to access your Paramount+ account, you can use a virtual private network (VPN) such as ExpressVPN . The service costs $7 to $13 per month and lets you log into high-speed servers across more than 90 countries while keeping your data private and secure, and new subscribers get three free months; learn more here .

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Val Kilmer wore Matsuda’s M2026 frames in light brown; they’re also available in other colors.

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‘Top Gun: Maverick’ director explains what it took to ace Tom Cruise’s awesome flight scenes

‘You just can’t fake what it’s like to be in one of these airplanes,’ says director Joseph Kosinski.

Anyone who fueled up on Top Gun: Maverick this summer knows the chart-shattering sequel to Tom Cruise’s 1986 classic features some of the most realistic and hair-raising aerial acrobatics ever committed to film. What you may not know, though, is how Cruise and director Joseph Kosinski collaborated with a team of ace real-life pilots to capture the movie’s authentic aerial combat sequences.

There’s no CGI along for the ride as Cruise and his crack team of present-day daredevils take what seems like an impossible fight to the movie’s unnamed bad guys. That’s because the onscreen action was captured exactly as it actually happened — a feat that required tons of practical expertise from the U.S. military pros who fly the film’s cutting-edge Boeing F/A-18E/F Super Hornet (as well as legacy aircraft like Cruise’s old-school Grumman F-14 Tomcat) — all as part of a day’s work.

“I saw online that some Navy pilots were putting on YouTube these videos where they would film their training exercises by putting a little GoPro on the canopy next to them,” Kosinski told The New York Times of his initial research into how Maverick would set up its in-flight action. “And so there was this kind of off-kilter angle that was capturing their training flight, and when I saw that, I was like, this is more interesting than any aerial sequence I’ve seen in a movie in a long time. So, [I wanted to] get the choreography of dog fighting, and do it in a two-seat airplane so Tom can be in the back and the [actual] Top Gun pilot can be in the front and [a real] Top Gun pilot is in the same thing that Tom’s wearing.”

Though Cruise is famous for performing his own stunts , there are some things that just have to be handled by the experts — and that includes piloting an extraordinarily expensive aircraft paid for by the U.S. Department of Defense. Kosinski said Cruise challenged all of the film’s flying cast to get themselves into “the same aviation shape that he was,” easing the illusion that the helmeted pilots actually at the helm were Cruise and the rest of the cast.

“…I can shoot Tom with these cameras, and it’ll look like Tom’s flying it,” Kosinski explained. “That was the inspiration. Then we went to Top Gun [the real-life, Nevada-based Navy Fighter Weapons School ], and we worked with the best pilots in the world flying these sequences for us.”

Committing so much effort to nailing the real look and feel of a dogfighter’s view from the cockpit, confessed Kosinski, “was a lot of work.” But, he said, there’s simply no CGI substitute for capturing the real thing. “You just can’t fake what it’s like to be in one of these airplanes,” he said. “You can’t fake the imagery of what it’s like to be going 600 miles an hour 30 feet above the ground through a canyon. I think, as an audience member, something in your brain tells you it’s real, and there is a visceral response, and so I’m glad we did it.”

The blockbuster sequel continues to swoop box office receipts , collecting a global $1.4 billion and $731 million domestic haul as the year’s highest-flying movie (as well as Cruise’ highest-grossing film ever). If you missed the movie’s initial flight in theaters, not to worry: Top Gun: Maverick has just come in for landing at on-demand streaming platforms, including Amazon Prime and Apple TV+.

Looking for some action and adventure? Peacock has a slew of titles to get your heart rate up, including The Fast and the Furious, Ambulance, and Flashpoint. 

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Top Gun: Maverick Video Shows The Insane Flight Training Tom Cruise And Company Went Through

Tom Cruise and the Top Gun: Maverick cast went through some insane flight training.

Any Tom Cruise fan will tell you that the actor is an adrenaline junkie who is fully committed to every stunt he performs. Returning to the cockpit for Top Gun: Maverick was no different. Becoming Maverick once again allowed him to take the high-flying flight stunts of the original film up a notch. But it wasn’t just Cruise who needed to be flight-ready, as his co-stars needed to learn the ropes about fighter jets. With the sequel only weeks away from its debut, a new video showed the insane flight training the Top Gun actor and company went through.

With the Hollywood icon serving as the star and producer, he wanted to make sure he and the cast were prepared to pull off the realistic aviation scenes. The Mission: Impossible stalwart recruited the Navy and the real-life Top Gun School to help conduct that goal. He delved into how the specific plan came together before filming started.

We worked with the Navy and the Top Gun School to formulate how to shoot it practically because if we're going to do it, we're going to fly in the F-18s.

Of course, Tom Cruise wanted to fly actual jets (see: his death-defying M: I stunts for reference). The Cocktail actor wasn’t the only one pushing the idea of aviation training as legendary producer Jerry Bruckheimer echoed the sentiment, saying,

The aviation sequences had to be real. So, the actors went through three months of grueling training.

Three months of flight training might sound outrageous, but it was needed to film those realistic air fight scenes. But creating and implementing the training plan wasn’t left up to Bruckheimer or a production coordinator but Cruise himself. According to co-star Monica Barbaro (aka Phoenix), the Hollywood actor took the reigns when it came to flight training.

From there, Tom designed this all-encompassing aviation training for all the actors.

Like any Tom Cruise action film, the training went full-stop to get the cast ready to pilot an F-18. There were levels to the fighter jet training. The movie icon eased the cast into aviation training by starting them in a single airplane to build spatial awareness. Eventually, the actors moved to an L-39 for aerobatics training before moving to the F-18 to practice launching off a naval carrier.

But learning how to fly powerful fighter jets was only part of the intense regimen the cast went through to prepare for the film’s intense flight scenes. You can see what else the actors experienced to get flight-ready by watching the eye-opening video below.

That flight footage was intense and thrilling at the same time. At least, viewers know that the cast was committed to giving them the best aviation scenes possible. There’s a deeper appreciation for those combat scenes from the sequel trailer. That came courtesy of Maverick director Joseph Kosinski , who wanted to put the actors in the air for an authentic feel.

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Stars Miles Teller and Lewis Pullman spilled what it was like taking part in Cruise’s training program. The former called it “ Tom Cruise boot camp ” involving fitness and stunts while the latter admitted to throwing up in the cockpit (not on camera, though).

It’s only a matter of time before moviegoers get the chance to see all the high-flying action in Top Gun: Maverick . The action film arrives in theaters on May 27. To see what else is coming this Spring, check out our 2022 movie schedule for all the new releases.

A boy from Greenwood, South Carolina. CinemaBlend Contributor. An animation enthusiast (anime, US and international films, television). Freelance writer, designer and artist. Lover of music (US and international).

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Tom Cruise returns to the skies in Top Gun: Maverick trailer

The actor is reprising his role as a hotshot fighter pilot in Top Gun 2, the long-awaited sequel also starring Jennifer Connelly and Jon Hamm

The first trailer for the long-awaited sequel Top Gun: Maverick has been released, teasing Tom Cruise’s return to his fan favourite role as a hotshot fighter pilot.

The actor made a surprise appearance at San Diego’s Comic-Con to introduce the footage which shows him back as Maverick, who will be dealing with issues of drone technology and fifth-generation fighters in the sequel. He referred to the film as “a love letter to aviation”.

The trailer paints Maverick as something of a dinosaur, unwilling to progress up the ranks and, according to his senior, played by Ed Harris, facing “extinction”. The new cast includes Miles Teller as the son of Goose, played by Anthony Edwards in the original, who becomes Maverick’s protege. He’ll star alongside the Set It Up breakout Glenn Powell, Oscar winner Jennifer Connelly, Mad Men alum Jon Hamm , Insecure star Jay Ellis and Val Kilmer, returning to play Iceman.

The sequel has been in development since 2010, and will be directed by Joseph Kosinski, who previously worked with Cruise in the sci-fi adventure Oblivion.

“Aviators are back, the need for speed,” Cruise has said of the film . “We’re going to have big, fast machines. It’s going to be a competition film, like the first one … but a progression for Maverick.”

In a new interview with Collider , Hamm has also been hyping the film’s reportedly complex special effects. “They’re using some technology on this that is never before seen,” he said. “We’re shooting the movie in, I think, 6K. So it’s incredibly hi-def. The aerial footage is mind-blowing. And it’s mostly practical. There’s not a lot of CG. Those guys are really up in planes and getting thrown around in multiple Gs.”

Cruise is coming off the back of another commercially successful sequel to Mission: Impossible as well as an underwhelming attempt to reboot The Mummy. The original Top Gun , directed by Tony Scott, was a surprise hit in 1986, making over $350m worldwide.

Top Gun: Maverick will be released on 16 June 2020.

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Why does Tom Cruise do his own stunts? ‘No one asked Gene Kelly, ‘Why do you dance?’’

Cruise spoke at the 75th edition of the Cannes Film Festival for the premiere of “Top Gun: Maverick.”

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By Kyle Buchanan

• May 18, 2022

CANNES, France — It has been 30 years since Tom Cruise attended the Cannes Film Festival, and it’s evident the festival would like to make up for lost time.

Perhaps that’s why, in advance of a conversation with the actor billed as a “Rendezvous with Tom Cruise” — which was itself happening in advance of the evening premiere of Cruise’s sequel “Top Gun: Maverick” — the festival played a nearly 15-minute-long clip reel of Cruise’s filmography, hyperbolically scored to Richard Strauss’s “Also sprach Zarathustra.” As the actor and audience watched from their seats, the reel touched on Cruise the action star, Cruise the dramatic thespian and Cruise the romantic, though the latter section, which featured him pitching woo at a bevy of leading ladies, notably left out Cruise’s ex-wife and three-time co-star Nicole Kidman.

“It’s wild seeing this reel,” Cruise said after taking the stage. “It’s like your life in ten minutes — very trippy.”

Cruise was speaking in front of a mostly unmasked crowd in the Salle Claude Debussy, which included hundreds of journalists and a team from Cruise’s agent, CAA. “After everything we’ve been through, it’s such a privilege to see your faces,” he said. He noted that “Top Gun: Maverick” had been held for two years because of the pandemic, though he refused to show it on a streaming service in the meantime. “Not gonna happen!” Cruise said to applause.

The 59-year-old star is insistent that his movies receive a lengthy theatrical window, a mandate that has sometimes put him in conflict with studio heads, who are eager to fill their streaming services with star-driven content. And in an era where big names like Leonardo DiCaprio and Sandra Bullock have no problem appearing in films for Netflix, Cruise remains a rare holdout.

“There’s a very specific way to make a movie for cinema, and I make movies for the big screen,” said Cruise. “I know where they go after that and that’s fine.” He said he even called theater owners during the pandemic to reassure them: “Just know we are making ‘Mission: Impossible.’ ‘Top Gun’ is coming out.”

Cruise is a discursive speaker who will leap out of one anecdote before it’s done to land in another, then another. (Perhaps that would make for an esoteric set piece in one of his action films?) But it was striking how often he returned to his formative experience shooting the 1981 movie “Taps,” in which he acted opposite George C. Scott and found himself fascinated by the way the filmmaking worked. Cruise said that while shooting, he thought, “Please, if I could just do this for the rest of my life, I will never take it for granted.”

And in the absence of any challenging questions from his interlocutor, the French journalist Didier Allouch — who was mostly content to burble blandishments like “You're absolutely extraordinary” to his interview subject — Cruise had the freedom to basically spin his own narrative of being a determined student of cinema and his fellow man. (And “Taps,” of course.)

“I was the kind of kid who always wrote goals on the wall of what kind of movies I liked or what I wanted my life to be, and I worked toward those goals,” Cruise said.

Though the conversation increasingly leaned toward bland generalities — “I’m interested in people, cultures, and adventure,” Cruise said more than once — it did provide one major laugh line when Allouch asked why he was so determined to do his own stunts in the “Mission: Impossible” movies, which will soon be receiving seventh and eighth installments shot back-to-back.

“No one asked Gene Kelly ‘Why do you dance?’” replied the star.

Kyle Buchanan , a Los Angeles-based pop culture reporter, writes The Projectionist column. He was previously a senior editor at Vulture, New York Magazine's entertainment website, where he covered the movie industry. More about Kyle Buchanan

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“Top Gun: Maverick,” Reviewed: Tom Cruise Takes Empty Thrills to New Heights

By Richard Brody

When Ronald Reagan was elected President, in 1980, it seemed only slightly more absurd than if Ronald McDonald had won. Both were entertainers, but the burger clown knew it, whereas Reagan believed the nostalgic and noxious verities of the movies that he had appeared in—and as a politician he attempted to force modern American life to conform to them. Thus “Top Gun,” which I saw when it came out, in 1986, felt like the cultural nadir of a time that was itself something of a nadir. As a film of cheaply rousing drama and jingoistic nonsense, “Top Gun” played like feedback—a shrill distillation of the very world view that it reproduced. Little did we know that there was another, less accomplished yet more bilious entertainer waiting in the wings to wreak even more grievous damage, more than three decades later, on the polity and the national psyche.

No less than the original “Top Gun,” its new sequel, “Top Gun: Maverick,” directed by Joseph Kosinski, is an emblem of its benighted political times. That’s why, in comparison with the sequel, the original comes off as a work of warmhearted humanism. Yet, paradoxically, and disturbingly, “Maverick” is also a more satisfying drama, a more accomplished action film—I enjoyed it more, yet its dosed-out, juiced-up pleasures reveal something terrifying about the implications and the effects of its narrative efficiency.

“Maverick” is less a sequel to “Top Gun” than a renovation of it. The framework of the story is borrowed from the original, nearly scene for scene; drastic changes, while updating it for the present time, leave it recognizable still. In the new film, Tom Cruise returns as Lieutenant Pete Mitchell, whose call sign is Maverick. Now he’s a test pilot at an isolated post in the Mojave Desert, where the project he’s working on—the development of a new airplane—is about to be cancelled in favor of drones, on the pretext of a performance standard that can’t be met. So Maverick, defying an admiral’s order, takes the plane airborne and, against all odds and at grave personal danger, pushes it past Mach 10 (which, for the record, is more than seven thousand miles per hour), thus temporarily saving the project but also risking court martial. Instead, Maverick is sent back to Fighter Weapons School, a.k.a., Top Gun—of which he is, of course, a graduate—in San Diego, summoned by the academy’s commanding officer, Admiral Tom (Iceman) Kazansky, his classmate and respected rival in the first film (again played by Val Kilmer). Maverick’s assignment is to train a dozen young ace pilots for a top-secret and crucial mission, to fly into a mountainous region in an unnamed “rogue” state and destroy a subterranean uranium-enrichment plant.

Yet soon another admiral, Beau (Cyclone) Simpson, played by Jon Hamm, sidelines Maverick and changes the mission’s parameters. In response, Maverick steals another plane and undertakes another unauthorized and dangerous flight, thereby justifying his own set of parameters to Cyclone—who orders him back to lead the younger flyers. Yet Maverick has history with one of those flyers, Lieutenant Bradley Bradshaw (Miles Teller), call sign Rooster, whose late father, Nick (Goose) Bradshaw, played by Anthony Edwards, was Maverick’s wingman in the original “Top Gun” and died saving Maverick’s life. There’s more to that history (spoiler), but the dramatic point is that Maverick has to overcome both the distrust and the enmity of one of the best pilots he’s training—for the sake of the mission, the unit’s esprit de corps, Rooster’s peace of mind, and his own sense of responsibility for a fatherless young man for whom he assumed paternal responsibilities.

There’s also a romance, perhaps the most perfunctory one this side of a children’s movie. Like the one in the original “Top Gun,” it is centered on a bar. This time, Maverick re-meets cute a former lover named Penny (Jennifer Connelly), the owner of the bar where the pilots all hang out. (In the original “Top Gun,” there’s mention of a woman named Penny as one of Maverick’s romantic partners, but the hint goes undeveloped.) What it takes for them to get back together is a kind of barroom hazing that costs Maverick money and dignity, plus a jaunt on her sailboat where she literally teaches him the ropes. (As to what happened between him and Charlie, his instructor and lover in the first film, played by Kelly McGillis, the new film says not a word.) Their relationship is the hollow core around which the movie is modelled, and its emptiness comes off not as accidental or oblivious but as the self-conscious dramatic strategy of the director and the film’s group of screenwriters.

The first ten minutes of “Top Gun”—showing the midair freakout of a pilot called Cougar (John Stockwell)—contain more real emotion than the entire running time of the sequel, and therein lie the key differences between the two films. The powerful feelings, troubled circumstances, and unsettling ambiguities in the original posed dramatic challenges that its director, Tony Scott, and its screenwriters never met. Their film thrusted a handful of significant complexities onto the screen but never explored or resolved them. It wasn’t only Cougar who fell apart in “Top Gun.” Maverick himself, racked with guilt over Goose’s death, first attempted to quit the Navy and then, returning to combat duty, froze up in midair. Of course, Maverick quickly got over it (thanks to Goose’s dog tags), and his suddenly resurgent heroic skills saved the day, brought the movie to a quick triumph, and aroused three decades of impatience for a sequel—but his vulnerability and fallibility at least made a daunting appearance.

By contrast, “Maverick” allows for no such doubts or hesitations. There’s certainly danger in the film, including a pilot who passes out midair and needs to be rescued. Maverick himself ends up in some perilous straits. But none of these situations suggests any weakness or failure of will, any questioning of the mission or of the pilots’ own abilities. The challenges are visceral rather than psychological, technical rather than dramatic, and the script offers them not resolutions but merely solutions—ones that are as impersonal as putting a key in a lock and as gratifying as hearing it click open. “Maverick” feels less written and directed than engineered. It is a work that achieves a certain sort of perfection, a perfect substancelessness—which is a deft way of making its forceful, and wildly political, implicit subject matter pass unnoticed.

Again, comparison with the original is telling. Whatever else the original “Top Gun” is, it’s a movie of procedure. The astounding upside-down maneuver with which Maverick flaunts his daring and prowess early on isn’t a violation of rules, just a departure from textbook methods. On another flight, he does break the rules, in relatively minor ways—he goes briefly below the “hard deck” (the lower limit) to win a competition and then playfully buzzes officers in a tower—and gets seriously called on the carpet for it. By contrast, in the sequel Maverick openly defies the orders of his superior officers, and not merely for a quick maneuver or a playful twit—he steals two planes, and destroys one of them. (For that matter, the destruction is kept offscreen and is merely played for laughs.) The essence of “Maverick” is that a naval officer breaks the law but gets away with it, because he and he alone can save the country from imminent danger.

The lawbreaker-as-hero model rings differently in an age of Trumpian politics and practices, of open insurrection and a near-coup. “Maverick” is evidence, as strong as any in the political arena, that the Overton window of authoritarianism has shifted. This is apparent in the movie’s cavalier attitude toward the rule of law, even in the seemingly sacrosanct domain of military discipline. In the original “Top Gun,” Maverick and the other pilots are told, by the instructor Viper (Tom Skerritt), “Now, we don’t make policy here, gentlemen. Elected officials, civilians do that. We are the instruments of that policy.” (Yes, “gentlemen”—all the fliers in the original are men.) In “Maverick,” there is no parallel line of dialogue, and the military is hermetically sealed off from any reference to politics—perhaps because such sentiments would likely now, in many parts of the country, be booed.

In “Top Gun,” Maverick is a warrior who needs to master his emotions in order to serve his country and to protect his colleagues. In the new film, Maverick, nearing sixty, succeeds solely by giving in to his emotions, by expressly not controlling them—and this, above all, is the doctrine that he imparts to young pilots: “Don’t think, just do.” That mantra, which his best students repeat back to him and follow, is a strange perversion of a key phrase that the young Maverick, explaining himself in class, blurts out in “Top Gun”: “You don’t have time to think up there; if you think, you’re dead.” There’s a world of difference between the young Maverick’s nearly apologetic instrumentalizing of instinct and the elder Maverick’s exaltation of unthinking action. This key line—which, following the quotability of the original film, seems devised to become a catchphrase—isn’t limited to flying and fighting but is delivered as a dictum that could as easily be echoed by anyone with anything to do anywhere.

Thinking means reflecting on consequences and contexts, going past immediate desires and appearances to consider causes and implications. Not thinking is easy for the characters in “Maverick,” because they have no individual attributes at all. The pilots and the officers are played by a diverse group of actors, but the screenwriters give them identities outside of their military actions and no backstories beside the ones that issue from the original “Top Gun.” In the entire film, not a single event or idea or experience is discussed that doesn’t specifically relate to the plot. As a result, the stars and the supporting cast alike have little to do and are reduced to flattened emblems of themselves. Yet the reduction of the characters to cipher-like mechanical functions is part of the charm of “Maverick,” thrusting into the foreground the many extended sequences of high-risk flight, and rendering them more dramatically characterized than anything that takes place on the ground. Also, these airborne scenes far outshine the ones in “Top Gun,” because they are filmed largely from the point of view of the pilots, looking out through the front of the cockpit into the onrush of other planes and in the face of looming and menacing obstacles. They are some of the most impressive and exciting—and strikingly simple—action sequences that I’ve seen in a while.

Apparently, the flight scenes in “Maverick” were realized in actual planes in flight, and the cameras in the cockpits were wielded by the actors themselves. Cruise, who famously enjoys doing his own stunts, supposedly trained his castmates in the requisite skills of aerial cinematography. I wouldn’t have guessed any of this, though, if I hadn’t read the publicity materials in which Cruise and others say so. The scenes of pilots in flight are cut into rapid fragments that reduce aerial views to mere moments of excitement. They are interspersed with aggrandizing grunt-and-sweat closeups of the actors, especially Cruise. This amounts to a kind of malpractice in the editing room, transforming the actors’ brave and devoted exertions into a seeming cheat, an ersatz experience that might as well have been created with C.G.I.

What’s most impressive about “Top Gun: Maverick” is its speed—not the speed of the planes in flight but the speed with which the movie dashes in a straight line from its opening act to its conclusion. The flights at the center of the film are vertiginously twisty, but the drama is a bullet train on a rigid track. Both midair and on the ground, Kosinski is an approximator. He doesn’t let his eye get distracted by the piquant detail, and he doesn’t turn his head to overhear a stray confidence or an incidental remark. He’s narrowly focussed on the relentless course of the action, and incurious about its byways, its implications, its material or emotional realities. He keeps the drama as abstract as the military software and as inhuman as the military hardware that are the movie’s true protagonists. I repeat: I enjoyed it, and you might, too—if you don’t think, just watch.

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James Corden Puts Life in Tom Cruise’s Hands Aboard ‘Top Gun’ Fighter Jet

Rebecca Ferguson's Co-Stars Called Her After She Dropped A Blind Item About One Of Them Screaming On Set: "You Understand What You've Done, Right?"

Stream it or skip it: 'the accountant' on netflix, with ben affleck doing math and murder, 'road house' director doug liman's studio star vehicles are always refreshingly uneven, unpredictable, and weirdly alive, in the 'road house' remake, jake gyllenhaal is still desperate to play the tough guy.

In honor of the highly-anticipated May 27 theatrical release of Top Gun: Maverick , James Corden had the action-drama film’s star, Tom Cruise , join him for a very special YouTube segment of  The Late Late Show With James Corden . What unfolded from there was an adventure whose thrills rivaled that of a  Top Gun   movie, and also probably gave the late night host a heart attack (or at the very least, a damp jumpsuit).

It all began with Corden waiting outside of the Burbank Airport, where Tom Cruise’s charter plane picked him up at 5 AM. “I feel like I’m being kidnapped,” the host said as their sojourn began, making it clear that he had no idea what lay in wait for the pair. By the time Cruise landed them in the middle of the desert, he explained that they were about to top (…gun) their shared experience parachuting out of an airplane by taking to the sky in a vintage little fighter plane worthy of Top Gun  itself.

“We’re gonna have a  Top Gun  day,” Cruise said, before clarifying that it would just be the two of them heading up in the small jet, and that he’d be piloting it himself.

“With all due respect, you played a lawyer in A Few Good Men , I wouldn’t want you to represent me in court,” Corden replied, clearly not freaky out. “I’m going to go up in a 75 year-old plane with someone that isn’t a pilot. Okay, yeah, that sounds like a good idea.”

Between Cruise’s explanation of what they’d do during an emergency protocol (“I’m just going to turn over, and I’m going to plop you out”), the emergence of a rival jet (“I don’t want to fight them, I’d like to go home, please”), and a training sequence so delightfully absurd that it’s a feat neither performer broke into fits of laughter (“This is reinforcing my belief that you don’t have a clue what you’re doing”), there’s a lot to love about this almost 15 minute clip (which you can watch above this article now) where Cruise is clearly having a blast (and looking good and impressive while doing it).

Ultimately, despite a healthy dose of terror from Corden (which Cruise clearly reveled in), both the late night host and actor took the highway to the danger zone and lived to tell the tale. And if Top Gun: Maverick  is even half as entertaining as that clip, then it’s definitely going to be a spirited, sky-high hit to remember.

Top Gun: Maverick  premieres in theaters on May 27.

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Top Gun 3 : une suite avec Tom Cruise serait en préparation chez Paramount

Par Ben Allen et Lucy Ford

Assureurs, tremblez : Tom Cruise pourrait bien mettre la main sur un nouveau F-14 et franchir le mur du son. C’était inévitable : on ne gagne pas un milliard de dollars au box-office de nos jours pour ensuite prendre la poudre d’escampette. La rumeur d’un Top Gun 3 enfle depuis l’immense succès de Top Gun : Maverick … Et elle n’a jamais été aussi proche de la vérité.

Bien que rien n’ait encore été officiellement annoncé, voici tout ce que nous savons sur Top Gun 3 .

Top Gun 3 , info ou intox ?

Nous attendons encore confirmation… Dans un monde où la propriété intellectuelle est défendue bec et ongles et où Tom Cruise est allergique au concept de projet unique, imaginer un monde sans Top Gun 3 , c’est un peu comme imaginer un monde où Tom Cruise ne risquerait pas sa vie par amour du cinéma : mission impossible . Quand Steven Spielberg vous remercie d’avoir sauvé le cinéma, vous pouvez à peu près faire tout ce qui vous chante.

Selon la newsletter spécialisée Puck , un accord pourrait bien avoir été conclu pour que Paramount développe Top Gun 3 , réunissant Tom Cruise et les nouveaux venus de Maverick , Miles Teller et Glen Powell. Le co-scénariste Ehren Kruger travaillerait en ce moment sur une ébauche, et Jerry Bruckheimer et David Ellison devraient sans surprise reprendre leurs fauteuils de producteurs. Pour l’heure, il semble que Joe Kosinski, qui a réalisé et propulsé dans la stratosphère Top Gun : Maverick , reviendrait soit en tant que réalisateur, soit en tant que producteur. S’il décidait de se retirer de la réalisation, on ignore encore qui pourrait prendre les manettes.

Ce n’est pas la première fois qu’un tel troisième volet est mentionné, mais l’issue n’a jamais semblé plus proche. L’année dernière dans Entertainment Tonight , Miles Teller, qui incarne le lieutenant Bradley “Rooster” Bradshaw (le fils du “Goose” du film original, joué par Anthony Edwards), déclarait que la balle était dans le camp de Tom Cruise. En effet, Paramount l’attend probablement déjà avec un très gros chèque et l’acteur n’a pas caché être prêt à remonter dans le cockpit le temps d’une paire de loopings.

Interrogé sur les possibilités d'une suite, Miles Teller répondait : “Ce serait génial, mais tout dépend de TC. Nous en avons discuté… On verra bien.”

La nouvelle d’un possible Top Gun 3 arrive juste après que Tom Cruise ait signé un accord non exclusif avec Warner Bros. pour produire des films originaux et des franchises pour le studio. Ce contrat, qui l’autorise à travailler avec d’autres studios, aurait froissé Paramount, qui a produit Top Gun : Maverick et tous les Mission Impossible , jusqu’à Dead Reckoning l’an dernier.

Paramount pourrait s’appuyer sur Tom Cruise et Top Gun pour sécuriser son territoire, mais si toutes ces négociations nous livrent un nouveau mastodonte au box-office, autant s’en réjouir. Comme le dit Miles Teller, c’est Tom Cruise qui aura le dernier mot.

Quand sortira Top Gun 3 ?

Il a fallu patienter 30 ans entre Top Gun et Top Gun : Maverick . L’attente ne devrait pas être aussi longue pour le troisième volet (même s’il y a fort à parier que TC sera encore prêt à s’élancer d’un avion à 90 ans) mais en l’absence d’annonce officielle, il faudra s’armer de patience.

Initialement publié sur British GQ .

Par Pablo Baron

Par Paloma González

Par Guillermina Carro

Par Cristina Vila