Top Gun: Maverick || Full Movie

Top Gun: Maverick director Joseph Kosinski has shared his plans to use similar practical effects on the race track of his upcoming Formula 1 movie, which is set to star Brad Pitt.

Watch Now:: https://just-watch-now.com/movie/top-gun-maverick/

Watch Now:: https://just-watch-now.com/movie/top-gun-maverick/

The breathtaking aerial sequences in Maverick were achieved using unprecedented practical effects, and one very daring shot even blew away the set, inadvertently leaving the production team with a single take to use.

Kosinski recognized the challenges of shooting this way, but told The Wrap he is committed to taking a similar in-camera approach on his forthcoming racing car movie with Brad Pitt.

"Certainly seeing people react to an in-camera, authentically captured film like 'Top Gun' makes us all feel good that our approach works and is appreciated by audiences," he said. "It's almost funny to me to see people who are so enamored with real photography. Younger people almost haven’t seen a lot of it. They’re so used to CGI being a tool of big movies that when you shoot something for real, it feels innovative."

"That's exactly the approach for Formula One… to shoot at the real races and real cars and capture it," he added. "It's going to be a huge challenge but an exciting one for me."

Kosinski chose to use practical effects as opposed to CG for Maverick because he wanted to capture the feeling of being a Top Gun pilot by "shooting it for real." However, it required a lot of time and dedication from the cast and crew, with the actors participating in a rigorous, Navy-approved boot camp before the cameras even started rolling.

The filmmaker said that he shot over 800 hours of footage for the movie, and there's no doubt that the unprecedented extent that Kosinski and the team went to in order to film Maverick in the most realistic way possible lead to quite the cinematic experience — one that Tom Cruise was determined to see play out on the big screen rather than streaming services.

Kosinski's next movie, which has the working title of Formula One, will be given a theatrical release before being rolled out onto Apple TV+ as part of an "innovative launch strategy." Meanwhile, Top Gun: Maverick has officially become Tom Cruise's highest-grossing movie of all time, having earned more than $800 million at the global box office since its release.

This is the part where I tell you that it’s now possible that Tom Cruise’s Top Gun sequel has a shot at passing $600 million domestic, which would make it Paramount’s biggest “original release” grosser of all time ahead of Titanic (which earned $658 million counting the 2012 3-D reissue). A normal rate of descent from this point onward would give it $550 million by the end, and this film has been anything but normal from opening day.

Moreover, broken record alert, there just aren’t many big live-action tentpoles between now and, uh, the September 23 reissue of Avatar or Warner Bros.’ Black Adam on October 21. Lightyear wasn’t an obstacle and Illumination’s Minions: The Rise of Gru will likely sink or swim regardless of the competition.

Elvis may play well next weekend among irregular adults who saw the trailer before Top Gun: Maverick and Thor: Love and Thunder opens July 8. Jordan Peele’s Nope should break out on July 22, but after that, it’s Brad Pitt’s Bullet Train on August 6 and... uh... yeah. Due to a variety of factors, Disney prioritizing Disney+ over theatrical (Chip and Dale: Rescue Rangers damn well should have been in theaters), a Covid-caused post-production logjam that kept (for example)

Black Adam out of the summer, counterprogramming like Kevin Hart’s The Man from Toronto and Jennifer Lopez’s Shotgun Wedding being sold to streamers, general Hollywood skittishness (HBO Max's Father of the Bride remake might have played well theatrically) over releasing less-than-surefire theatricals, there aren’t many big movies this summer (especially for adults).

“These claims are without merit, and we will defend ourselves vigorously,” said a Paramount spokesperson today in response. The studio will obviously have to respond to the suit in the federal docket in due course.

In the May 1983 edition of California magazine, Ehud Yonay penned “Top Guns,” about the pilots and program “located in a second-floor cubby of offices at the east end of Hangar One at Miramar.” The piece was optioned ASAP and Yonay was cited in the credits of the first Top Gun.

All cool as Iceman so far, right?

Well, yes, but then you get to the long-delayed Top Gun: Maverick, and the rights to the article reverting back to the Yonays in January 2020.

“Despite the 2022 Sequel clearly having derived from the Story, Paramount consciously failed to secure a new license of film and ancillary rights in the copyrighted Story following the Yonays’ recovery of their U.S. copyright on January 24, 2020,” reads the three-claim, jury trial-demanding civil complaint.

“The Yonays contend and Paramount denies that the 2022 Sequel does not qualify for the “prior derivative works exception” under 17 U.S.C. because it was not completed until long after January 24, 2020.”

While seemingly not engaging deeply with the Yonays and attorneys, Paramount did tell the now-plaintiffs last month that “the 2022 Sequel was ‘sufficiently completed’ by January 24, 2020 (the effective termination date) in a disingenuous attempt to bootstrap the 2022 Sequel into the ‘prior derivative works’ exception to termination.”

So ladies, gents and Bob, we have ourselves a showdown.

BTW – if you recognize the name Marc Toberoff, you are G-force deluxe. The Toberoff & Associates founder took on Warner Bros and Marvel/Disney on behalf of the heirs and estates of Superman co-creator Joe Shuster and the great Jack Kirby. Currently, along with this Top Gun action, Toberoff is locked in a war with Marvel over termination rights for characters created by the likes of the deceased Stan Lee, Steve Ditko, Don Rico, Don Heck, Gene Colan and the still-living Larry Lieber.

Of course, it’s only June, so “Maverick” will have to fight off heavyweights like “Thor: Love and Thunder” (July 8), “Minions: The Rise of Gru” (July 1) and “Black Panther: Wakanda Forever” (Nov. 11) to keep the domestic crown through 2022.

Internationally, the sequel to 1986’s “Top Gun” has earned $362 million, taking its global total to a massive $783.8 million. Even by pre-COVID standards, “Maverick” is smashing box office expectations. Since ticket sales have stayed strong in recent weeks, industry analysts believe the film will at least cross $900 million by the end of its theatrical run and could even surpass the coveted $1 billion mark.

“Top Gun: Maverick” already stands as Cruise’s highest-grossing film in North America, but it’s close to becoming the actor’s biggest movie at the global box office. “Mission: Impossible – Fallout,” which collected $791 million worldwide in 2018, currently stands as his highest-grossing blockbuster of all time.

Cruise’s other top-earning tentpoles include 2011’s “Mission: Impossible – Ghost Protocol” ($695 million globally), 2015’s “Mission: Impossible – Rogue Nation” ($683 million globally) and “War of the Worlds” ($603 million globally).

“Top Gun: Maverick” opened over Memorial Day weekend and set a holiday record, collecting $160.5 million in its first four days of release. It was the first movie in Cruise’s 40-year career to surpass $100 million in a single weekend.

Directed by Joseph Kosinski, the $170 million-budgeted “Top Gun: Maverick” picks up decades after the original and follows Cruise’s Pete “Maverick” Mitchell as he trains a new group of cocky aviators for a crucial assignment. The cast includes Miles Teller, Glen Powell, Jon Hamm, Jennifer Connelly and Val Kilmer, who played Iceman in the first “Top Gun.”

For Paramount, the movie extends a sterling box office streak. After hardly releasing any films during the pandemic, the studio has stuck the landing with its 2022 films, “Sonic the Hedgehog” ($182 million in North America), “The Lost City” ($102 million in North America), “Scream” ($81 million in North America) and “Jackass Forever” ($57 million in North America).

Add in overseas ticket sales, and the global opening total for “Top Gun: Maverick” over that period will approach $300 million.

“People are ecstatic,” said John Fithian, chief executive of the National Association of Theatre Owners. “We’ve spent two years answering God-awful existential questions about the future of moviegoing.” Fithian noted that older audiences, largely absent from theaters over the last two years because of coronavirus concerns, returned en masse over the weekend, “ending the debate about a full recovery.”

About 55 percent of ticket buyers were over the age of 35, according to Paramount Pictures, which released “Top Gun: Maverick.” Paramount and Skydance Media produced and financed the movie, which cost roughly $170 million to make. A megawatt global marketing campaign cost another $125 million or more.

Turnout for “Top Gun: Maverick” was unusually strong in some areas of the United States that tend to be overlooked by Hollywood, including Tennessee, Oklahoma, Utah, Oregon and northern Florida. Marc Weinstock, Paramount’s president of worldwide marketing and distribution, noted that 20 percent of ticket buyers were aged 18 to 24, a demographic that had been in question before release.

“I think a lot of people want to take a break from the world for two hours, especially for something that leaves them feeling upbeat like this movie does,” Weinstock said.

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Adjusting for inflation, the original “Top Gun” cost about $40 million to make and collected $942 million at the global box office in summer 1986, according to the IMDb Pro database. “Top Gun” was released on 1,028 screens in the United States and Canada, which, at the time, amounted to an ultrawide rollout. To compare, “Top Gun: Maverick,” directed by Joseph Kosinski, arrived on 4,735 screens in North America, setting a theatrical booking record, according to Comscore.

Euphoric reviews and strong word of mouth helped boost ticket sales, which easily surpassed prerelease analyst expectations. “Top Gun: Maverick” received a rare A-plus grade from ticket buyers in CinemaScore exit polls. Paramount also backed the release with a savvy marketing campaign that included a monumental premiere on an aircraft carrier; a video stunt with James Corden that went viral; promotion by hundreds of TikTok and Instagram influencers; a website allowing fans to generate customized call signs with augmented reality photos; and original songs by Lady Gaga. As ever, Cruise trotted the globe on a tightly controlled publicity tour.

In the United States, concerns about the coronavirus seem to have faded. About 85 percent of prepandemic ticket buyers (those attending at least four movies a year) currently feel safe going to theaters, according to polling by National Research Group, a film industry consultancy. In January, about 65 percent felt safe. N.R.G. data shows that consumers in general view movie theaters as safer than gyms, bars and restaurants.

“This is the real turnaround,” said Mooky Greidinger, the chief executive of Cineworld, which owns Regal Cinemas, the No. 2 multiplex chain in the United States. “We are very, very optimistic for the rest of the year.” He noted that a large percentage of “Top Gun: Maverick” ticket buyers opted for premium-priced screenings in large-format theaters such as IMAX. “Give us every weekend a movie like ‘Top Gun!’” he said.

For the first time since early 2020, Greidinger and other theater owners are going to get their wish. The box office has struggled to bounce back in part because of sporadic output by studios. “We would have a really big one and then nothing to follow that up,” Fithian said. “Spider-Man: No Way Home,” for instance, was a juggernaut in late December and January, taking in $1.9 billion worldwide. But it also had theaters largely to itself, with February almost devoid of big-budget offerings.

In the weeks ahead, Hollywood will serve up a murderers’ row of sequels and prequels, including “Jurassic World: Dominion,” “Lightyear,” “Minions: The Rise of Gru” and “Thor: Love and Thunder.” Other high-profile summer offerings include “Where the Crawdads Sing,” “Elvis” and Jordan Peele’s “Nope.” Theater owners also have high hopes for “The Black Phone,” a Blumhouse thriller, and “Bullet Train,” starring Brad Pitt.

“There is finally a range of options for moviegoers of all types,” Fithian said. “Moviegoing begets moviegoing,” he added, with trailers shown in theaters one weekend fueling attendance the next.

“Top Gun: Maverick” gave Cruise, 59, the biggest opening of his decades-long career, even when adjusting for inflation, surpassing “War of the Worlds” in 2005, according to Comscore data. The results also amounted to triumphs for Jerry Bruckheimer, 78, who produced the original “Top Gun” and the sequel; David Ellison, 39, the owner of Skydance who has become a Hollywood force; and James N. Gianopulos, 70, who was pushed out as Paramount’s chief in 2021 after resisting pressure from his corporate overlords to reroute films like “Top Gun: Maverick” to the Paramount+ streaming service.

Overall, the joyful mood in the old-line movie industry on Sunday could be summed up by an exchange in “Top Gun: Maverick” between Cruise’s weathered flying ace and a naysaying superior.

“The end is inevitable, Maverick — your kind is headed for extinction,” the superior says.

Maverick’s reply: “Maybe so, sir. But not today.”