Top Gun: Maverick

Top Gun is pretty much the greatest fighter pilot movie ever made. A sequel would have a lot to live up to. It took my entire lifetime before that sequel, Top Gun: Maverick, finally flew in. I think it more than lives up to the hype.

The aptly named Maverick (Tom Cruise) has spent the past three decades refusing to rank up beyond Captain. The Navy finally decides to ground him for his maverickness until his old wingman Iceman (Val Kilmer), now the Pacific Fleet admiral, intervenes. Maverick gets sent back to the TOPGUN program as an instructor. His mission, which he has no choice but to accept, is to train the Navy's best pilots to fly in and destroy an unsanctioned uranium plant. Chief among the pilots is Rooster (Miles Teller), whose dad was Maverick's ill-fated RIO Goose (Anthony Edwards in the first film), and the egotistical Hangman (Glen Powell).

Maverick spends quite a bit of time training these recruits and annoying Vice-Admiral Cyclone (Jon Hamm) with his antics. He also finds time with former girlfriend Penny (Jennifer Connelly). Meanwhile, Rooster resents Maverick for keeping him out of the Naval Academy. They'll have to rely on each other to get through the mission alive.

Joseph Kisinski starts the film the same way Tony Scott started the first one: aboard a flight deck at daybreak as Harold Faltermeyer's famous anthem plays before Kenny Logins' Danger Zone kicks in. The building anticipation isn't as strong as the first film's scene but it's all right. It also looks nicer thanks to Claudio Miranda's cinematography. It's a good way to get us in the mood. The mood is kept going by Faltermeyer and his scoring collaborators, Hans Zimmer and Lady Gaga. 

The main mission is sure to amuse anyone who remembers The Dam Busters. Anyone who doesn't may recognize it as Star Wars on Earth (which is how the first film was pitched). Either way, you will get a kick out of its airborne sequences. There's plenty of hotshot antics in Maverick's flight school and the mission itself. Editor Eddie Hamilton builds up the suspense whenever Maverick or the others take to the skies. You'll guess right away, for example, that Rooster and Maverick will survive a firefight in an ammo-less F-14 with a "felon." How they survive will keep you guessing, and the payoff is thrilling. The visual effects also perfectly obfuscate the difference between a real plane and a mainly-CGI one.

Sure, if you've seen one hotheaded Tom Cruise character, you've seen them all. But Maverick is still a charismatic character after all this time. He tries to prove to himself and his superiors that he's still relevant. It's a compelling arc that keeps his invested for 131 minutes. He gets some laughs as he and Rooster try to sneak out of enemy territory and sadness as he visits the ill Iceman. Iceman's few raspy lines were reportedly constructed with an AI program (due to Kilmer's own ill-health) and it's a great touch to the already spectacular sound design.

Maverick's not the only Top Gun here. Rooster and the other recruits are a strong squad here. Rooster's plot is as compelling as Maverick's, while Hangman ultimately proves himself a good man despite his bravado. A few more highlights include Lewis Pullman as Bob, Monica Barbaro as Phoenix and Jay Ellis as Payback. Cyclone and Rear Admiral Hammer (Ed Harris) are acceptable and reasonable antagonists for Maverick to fly over. On the civilian front, Penny and her daughter Amelia (Lyliana Wray) bring some much-needed gravity to ground Maverick's ego. 

Anyone looking for a simple blockbuster will find it here. Top Gun: Maverick will thrill you on land and in the air. You won't get too lost if you lack either the pop-cultural osmosis or firsthand experience of the original. Its relatively simple plot is a rarity today. This is the kind of film that was made for the biggest screens possible. This is the kind of film made for holiday weekends. This is the kind of film summer was made for. Simply see it soon. It's just that good.

The Bob's Burgers Movie

We follow one TV transplant with another with The Bob's Burgers Movie. The animated Belchers follow their Fox Sunday neighbors, The Simpsons, in becoming movie stars in this musical murder mystery. What can you expect if you haven't tuned in once?

Bob (H. Jon Benjamin) and Linda Belcher (John Roberts) run the titular joint on Ocean Avenue. But they have seven days to pay a loan, or the Bank will foreclose on them. A new sinkhole in front of the place dissuades any business for them. Their kids, Tina (Dan Mintz), Gene (Eugene Mirman), and Louise (Kristen Schaal), explore the sinkhole and accidentally unearth the skeleton of a murdered carny. The street's landlord, Calvin Fischoeder (Kevin Kline), is arrested for the murder. 

The kids, led by Louise, investigate the murder mystery. They have their own issues as summer vacation approaches: Tina hopes that Jimmy Pesto Jr. (also Benjamin) will be her "summer boyfriend"; Gene hopes his new band will take off; while Louise hopes her peers will stop calling her a baby. Meanwhile, Bob, Linda and their favorite customer Teddy (Larry Murphy) open a guerilla burger cart at nearby Wonder Wharf. Both groups discover a conspiracy to destroy the Wharf.

Anyone unfamiliar with the show won't get lost. You'll get to know the Belchers and their supporting cast pretty quickly. They're all a quirky and relatable bunch of characters you'll get to like. Fischoeder and beleaguered Sgt. Bosco (Gary Cole) are a few highlights of that supporting cast. Its opening number perfectly distills the basic premise in a few minutes time. The stakes get sillier the more they are raised in this mystery. How so? The climax involves a go-cart chase!

The music was co-composed by series creator Loren Bouchard (who also co-directed and co-wrote the film) and many others. The songs are extremely upbeat numbers you'll wanna tap along to. They're accompanied by some of the bounciest animated choreography you'll see. The movie's only flaw, in fact, is that it could have used more than its four numbers. It's about a half-hour between the first and second numbers - the latter a group number for the carnies. The following numbers are saved for the actual villain and the end; they're still entertaining.

The Bob's Burgers Movie is ready to fill you up with 102 minutes of upbeat silliness. It may be as episodic as the show, but it's an entertaining big screen episode. Fans will get more time with the Belchers, while newcomers will get their appeal in no time. You'll order up some fun if you see it soon. It's a good way to get you in that summertime mood.

Downton Abbey: A New Era

 Downton Abbey transplanted Jullian Fellowes' ITV series onto the Big Screen to pretty good results. The Crawley family is ready for your acquaintance in their cinematic follow-up, Downton Abbey: A New Era. And they have a problem on two fronts:

Violet Crawley, Dowager Countess of Grantham (Maggie Smith), has just been willed a French Villa by a former lover, Marquis de Montmirail. Violet is too ill to travel, so Lord Robert (Hugh Bonneville), former butler Mr. Carson (Jim Carter) and a few others, head there in her place. The new Marquis (Jonathan Zaccai) drops a relative bombshell on the unsuspecting Lord Grantham. Meanwhile, Countess Cora (Elizabeth McGovern, whose husband Simon Curtis is the director) announces that she may not be long for this world either.

On the home front, the abbey is occupied by a film crew shooting their newest silent melodrama, The Gambler. The Upstairs welcome the handsome sum with which they can renovate the Abbey. The Downstairs crew is especially starstruck by leading lady Myrna Dalgeish (Laura Haddock), though not with her spoiled demeanor. Lady Mary (Michelle Dockery) and former footman Mr. Molesley (Kevin Doyle) come to the rescue when The Gambler needs emergency talkie surgery. Leading man Guy Baxter (Dominic West) offers butler Thomas (Robert James-Collier) a compelling proposition. Director Jack Barber (Hugh Dancy) offers Lady Mary one of his own.

Needless to say, there's a lot going on in this 125-minute film. Surprisingly, the easiest bits to follow are call-backs to the show. We get Lady Mary, for instance, describing how her first husband (Dan Stevens in the first three seasons) died the day their son was born. It's a compelling scene even if you haven't caught up on your Downton. A few character threads from the first film were easy to remember. But Lady Cora's terminal subplot is lost in the shuffle and turns out to be a false alarm. Still, fan or not, you'll feel something when Violet finally expires - especially after her choice of last words.

The home front is essentially a British take on Singin' in the Rain. The revelation will hit you full force once you know where it's going. But you'll like where it's going. In particular, Myrna is a cockney deconstruction of the older film's Lina Lamont. She's a raging prima donna who is painfully aware that she's not "star material." But she doesn't see herself as anything else but a star. Lady Mary and the Downstairs crew eventually turn her life around with some support. It's a surprisingly strong characterization for this character type. All in all, The Gambler's troubled production is an entertaining affair.

Andrew Dunn's cinematography is the technical highlight of the film. Whether it's the colorful French Villa, the opening fisheye aerial shots, or Downton itself, his work is splendorous. Credit also goes to production designer Donal Woods for visualizing the appealing locales. Our first glimpse of Downton is made majestic when John Lunn's classic theme kicks in. There's some surprisingly good sound work when The Gambler's dubbing begins. The playback is just too clean.

Downton Abbey: A New Era is another fine showcase for its massive ensemble. It eases you into the show's lore pretty well. A few subplots - other than the one I mentioned - can get lost in the shuffle. Its new characters are welcome additions to the Downton world. There's enough to appeal to new fans and veterans alike. Who knows if this is the last we'll hear of the Crawleys. If it is, it's a good second sendoff for them. It's worth at least a watch; you'll have to decide when and where.

Chip N Dale: Rescue Rangers

 The most I remember about the Disney show Chip N Dale: Rescue Rangers boils down to the theme song and visuals. Any individual episode plots? I've forgotten. The Lonely Island, however, are out to jog a few memories with their live-action/animated take on the show. It's a wackier take on Who Framed Roger Rabbit and it's on Disney + now.

Chipmunks Chip (John Mulaney) and Dale (Andy Samberg) used to star in the titular show, where they and their fellow Rescue Rangers "pick up the slack" when "some crimes go slipping through the cracks." But then their show got cancelled when Dale tried to go solo with Double-O Dale. Years later, Chip's an insurance salesman and Dale is a CGI remodified star. Their fellow Rescue Ranger Monterey Jack (Eric Bana) disappears, having warned them about a "bootlegging" racket. They get on the case.

The ringleader is none other than an adult Peter Pan (Will Arnett), now calling himself Sweet Pete, and his CGI henchmen are Bob the Viking (Seth Rogen) and Jimmy the Polar Bear (Da'Vone McDonald). Our heroes are helped by Det. Ellie Steckler (Kiki Layne), a longtime fan of theirs. Can they overcome their longtime grievances to deal with the biggest cartoon trafficking case in history? Obviously.

Director Akiva Schaffer and his writers, Dan Gregor and Doug Mand, flood the film with meta humor galore. Spotting every fictional film poster (a few highlights include Lego Miserables and Batman vs ET) and licensed cameo is sure to take hours. They take jabs at Cats, The Polar Express and The Lion King for its uncanny valley nature. They even turn Sonic the Hedgehog's rejected initial movie design into a major supporting character named Ugly Sonic (Tim Robinson). The audacity of their jokes is impressive; their most surprising twist is the reveal that obvious villain Captain Putty (JK Simmons) is, in fact, a villain. The only downside is that all the wackiness can easily overwhelm viewers.

It's still a good buddy picture. Chip and Dale are so likable that you'll feel something when Dale is presumably killed (twice) despite knowing he'll be OK. Seeing them work out their grievances makes it a compelling 98 minutes. Ellie is fine and Putty, while no Judge Doom, is hilariously sinister. Pete is a sympathetically sadsack big bad. Bjornson the Cheesemonger (Keegan-Michael Key), a twisted parody of the Swedish Chef, is a memorable bit villain. It's also quite something when we see what the remaining Rescue Rangers, Gadget and Zipper (Tress MacNeille and Corey Burton), are up to. 

There's plenty of visual style with the toon characters. Or, rather styles, as 2D, CGI, claymation and even muppets, occupy the same world as humans, and do it well. I'm sure a lot of the off moments are intentional. For instance, Pete moves around like someone from a Ralph Bakshi film, while some 2D characters are clearly cel-shaded. This is a movie that uncovers the uncanny valley with a spotlight, after all. On the aural side, Brian Tyler composes a good action score with some classic Disney thrown in. It's a good mixture.

Anyone lamenting the loss of Roger Rabbit 2 can finally rest. Chip 'n Dale: Rescue Rangers is a surprisingly worthy successor to the early film. It's a good buddy film, a visual delight, a great treasure trove of cameos & meta humor, and more. Roger Rabbit even cameos! All this in a feature film of a simple adventure cartoon. See what all the fuss is about on Disney + now. You can also jog your memory there with episodes of the old show. 

Doctor Strange in the Multiverse of Madness

Doctor Strange thought he was done with the multiverse. But the multiverse isn't done with him. Get ready to see why in his newest movie, Doctor Strange in the Multiverse of Madness. It's a sequel to Disney Plus's WandaVision series, so ...

Previously On WandaVision:

Wanda Maximoff (Elizabeth Olsen) conjured up her own sitcom world in the town of Westview. She and her husband, the android Vision (Paul Bettany), had twins, Billy and Tommy. A lot of weirdness ensued, and Wanda is forced to cancel her sitcom world. But she misses her twins, despite them being imaginary, and consults the evil Darkhold tome.

This time on Doctor Strange:

Wanda, now the Scarlet Witch, discovers a multiversal girl named America Chavez (Xochtil Gomez). She wants her verse jumping powers to find and supplant an alternate her with a real set of her fake twins. The good Doctor (Benedict Cumberbatch) and his allies come to the rescue. But their stronghold of Kamar-Taj falls to Wanda and Strange soon goes verse jumping with America. They find a verse with superheroes worried that all that verse jumping will destroy everything. Not that it concerns Wanda ...

It sounds like a lot to take in. A lot of it can be explained with a "that's how it's there" mentality. It's most apparent with the other heroes, the Illuminati, whose members include MCU newcomers Mr. Fantastic (John Krasinski) and Professor X (Patrick Stewart). If anything, you'll just have to familiarize yourself with WandaVision and Doctor Strange 1 to get the big picture. Perhaps the biggest misstep in all this is wasting Baron Mordo's (Chiwetel Ejiofor) start of darkness. It's the Illuminati's Mordo, essentially a different character, who antagonizes Strange here. Speaking of which, the climax hinges on the fact that Wanda's alternate twins are not hers. It's a well-acted heel realization.

Sam Raimi's technical Marvels deliver on the title. We have moments like the battle with the one-eyed Gargantos and Wanda's rampage through the Illuminati that make one question the PG-13 rating. A few cinematographic flourishes and creepy ghosts aren't that out of place in The Evil Dead. America and Strange getting drugged by Mordo is splendidly disorienting; you'll think the screen got bigger. America's spectacular verse jumping abilities are highlighted when she and Strange go through many verses in rapid succession. The multiverse is visually stunning, even the post-apocalyptic one, and Danny Elfman's score gives it a grand tone.

Cumberbatch is good as Strange and his alternate selves. The best of those alternates is "Sinister" Strange, a variant maddened by his accidentally causing an apocalypse. Olsen is perfectly menacing as Wanda and sympathetic as the alternate her caught up in the mess. Gomez is quite likable as America Chavez; she maybe a living MacGuffin, but here's hoping she'll be more next time. Rachel McAdams as Christine Palmer gets a bigger and better role than the last film gave her. Benedict Wong (Wong) and Ejiofor are as impressive as they were last time. Of course, Raimi's number one guy, Bruce Campbell gets an amusing cameo and the last line of the film.

It's quite a jarring experience to see this so soon after Everything, Everywhere, All at Once. It's not as delightfully gonzo as the other film but it's still a visual marvel. You'll be fine as long as you focus on the big picture. Otherwise, you'll get thrown off by minute things like the unexplained minotaur in Kamar-Taj (his name's Rintrah) or the cameo in the mid-credits scene. I'm sure a lot of it will be explained in a Doctor Strange 3 or the next time he co-stars in another film. I'll be here waiting eagerly for whatever comes.