Showing posts with label meg ryan. Show all posts
Showing posts with label meg ryan. Show all posts

Wednesday, 8 May 2019

Top Gun (1986)

Something I've heard a lot since I started blogging four years ago is that Top Gun is one of those classics you must watch a least once in your life. For a reason or another — mainly because I tried to avoid everything with Tom Cruise as my love for him is quite recent —, I never watched it. Since a sequel is coming (soon), I finally decided to watch it. 

The story follows Lieutenant Pete "Maverick" Mitchel (Tom Cruise), a young, cocky, hotshot pilot. After a daredevil stunt, Maverick receives news that he's being accepted into an elite training academy known as "Top Gun", along with his co-pilot and friend, Nick "Goose" Bradshaw (Anthony Edwards). As soon as he begins his training, he's faced with two distractions — a highly competitive fellow student, Iceman (Val Kilmer), and Charlie Blackwood (Kelly McGillis), the attractive woman whom Maverick hits on the night before he's discovered who turns out to be one of his instructors. 

Given how much love Top Gun gets pretty much from everyone, I was expecting a compelling story about a young pilot involving rivalry, friendship and a romance. Instead, I found myself watching a soporific story in which a cliché is immediately followed by another cliché, that is utterly predictable and that feels like an ad for the military. 

The characters aren't that well written either. Not only every single one of them has no characterization nor development whatsoever which felt me cold about all of them — I guess I was supposed to be sad when Goose died but I just didn't care —, but the main character, Cruise's Maverick comes off as an arrogant, immature jerk who is far away from being likeable, and, unfortunately as I've come to love Cruise, the blame is not all on the writers. The fact is that Crusie swaggers, smirks and grins his way through the film, giving what's easily the worst performance of his I've seen (so far). And his chemistry with Kelly McGillis is non-existent and therefore the romantic subplot doesn't work at all. The rest of the cast also does a terrible job but the blame is not all on the actors as the film doesn't have a plot nor solid direction. Dreadful dialogues I'm having a hard time believing someone was paid to write, that the film has.

Paramount Pictures
On the other hand, Top Gun is filled with action. Unfortunately, this is yet another negative aspect as it lacks excitement since it is the kind of action kids enjoy — fighter jets blasting off, roaring, pilots showing off, and other childish stuff like that. There are also some sequences that make no sense whatsoever — what's the point on focusing on Cruise, trying to capture his smirk when he's wearing a mask that almost covers his entire face?

Where are the good parts? Well, some of the action is decent, the scenery and costumes are pretty well done, and the soundtrack is quite good. Unfortunately, these few things alone aren't enough to save Top Gun from being the overrated, dull film it is.

Wednesday, 21 August 2013

New August Titles (2013)

Among the notable titles joining Netflix Instant this month are a stellar example of '70s sci-fi, the Spike Lee joint of Spike Lee joints, an underrated drama from the writer-director of personal fave The Fabulous Baker Boys, Christopher Nolan in his more forgetful, pre-Dark Knight days, and a bit of unabashed filth from the mind (and groin) of Kevin Smith.

Rollerball (1975) - EXPIRED 9/1/13

Once upon a time, in a decade far, far away, science-fiction movies were built on ideas, not special effects. Before Star Wars changed the rules (and box-office expectations), all you needed to make a sci-fi flick were a respectable actor (say, Sean Connery or Charlton Heston or Robert Duvall), a script with some cautionary message reflecting the day's concerns, a newly built, futuristic-looking mall or campus as your setting, a few cool-looking props and/or model space ships, and maybe a miniature of a domed city. Presto�big-screen dystopian future. Those were the days of Zardoz, Logan's Run, Soylent Green, The Man Who Fell to Earth, and THX-1138, among others. Granted, most are not what you'd call "great" films, but they're all provocative and idiosyncratic (and flawed) in ways that give them an organic charm�something sorely missing from today's machine-stamped blockbusters. Even Rollerball�which posits a future run by benevolent corporations who keep the peace by pitting nations against each other in an internationally sanctioned blood sport�alternates its bursts of violence with hushed, meditative talks about free will and human nature (as well as the random burning of trees as party trick).

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