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Notes -
It was a very well-executed movie, probably the best action movie (in a platonic sense) since Fury Road, notably another 80s revival. The plot is straightforward and functional, yes, but complex, political plots with twists and turns and grey villains and sociopolitical commentary have been in vogue over the last 20 years. A reaction against that towards simple plots that uses a strong emotional core and characters to hang the action is unsurprising, as is that being tied up in our current nostalgia moment. This is a subset of, but not strictly equivalent to the IP mining that is also going -- Star Wars reboots are part of this nostalgia moment, the Marvel empire is not, while Stranger Things is an (early) part of the former but not the latter. Within these 80s nostalgia plays, much of it has been pretty terrible (Ghostbusters, Star Wars, etc) but a few have been quite good (Maverick, Mad Max, Karate Kid). The lack of a political context or complex villain (the enemy given as minimal detail as possible) is a deliberate choice to not detract from the emotional conflicts in the film and the characters' struggles.
With the success of Maverick, I'd expect to see more minimal, character-centric action movies, and dogfighting films in particular (shown to be very underserved). More scenes where the hero returns victorious to cheering crowds, more nondescript villains.
I think a potentially unremarked-upon aspect of the film I appreciate is the tone it's saturated with -- it's more mature than the original without thinking that mature necessarily means dark, or tortured, or politically intricate. Where the former was testosterone and surface-level id played for face value, there's a world-weariness to the sequel. Maverick's tentatively rekindled relationship with Jennifer Connolly's character plays out the same kind of nostalgia -- real, bittersweet wistfulness nostalgia, not 'remember AT-STs' -- that suffuses the whole film. The characters feel deeply bound by their history in a way many other reboots completely fail to emulate. What cockiness was just a sharp expression of young competition is now just a wry, self-aware habit. Maverick can't be anything else, the only difference is now he knows it.
To be fair to the SW sequels, I feel like The Force Awakens did manage to get this right at one point, with the relationship between Han and Leia. They missed each other, they clearly still love each other ... and they've long since realized that they just can't live with each other, despite having tried their best. We get nostalgia for the cutesy cocky "love-hate relationship" development from the original trilogy, but this time in a new bittersweet realistic light.
Based on the rest of the script I have to wonder if this was an accident, if the writers were just trying to make it (unnecessarily even more) obvious that General Leia is a Strong Woman Who Don't Need No Man, but whether intentionally or not their execution there was excellent.
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In particular the use of Val Kilmer's character, and the refusal to de-age him, or to cover up Kilmer's medical condition, or to make him into a caricature of himself.
Basically respected both the original character and the actor that plays him and included him in the world but didn't pander unnecessarily to the audience.
In a lesser film, there'd have been a sequence where Iceman suits up to fly one last mission and try to prove he's the better pilot, despite that going against all logic and the film's emotional tone. Remember how The Rise of Skywalker pulled Billy Dee Williams out of mothballs to have him fly the Millenium Falcon one last time?
Although, I do genuinely like that there's been a recent trend of actors who played iconic characters getting the chance to reprise the role and often have a thoughtful retrospective and send their character out on a high note and/or pass the torch respectfully. But this does go very wrong in come cases (poor Sarah Connor).
I think the worst attempts to 'write to the fans' with these resurrections assume that the in-universe attitudes about the characters need to sync up with the idolatrous attitudes of the worst elements of the fan culture. Cobra Kai did a good job of running against this, where the plucky kid who overcame the odds to win the Karate competition grows up to be a card dealer that won some high-school karate competitions and still kind of runs off that high. Have the courage to let beloved characters be a bit pathetic.
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