Review of Top Gun: Maverick (2022) by Tomris Laffly for RogerEbert.com — 12 May 2022

As the jets cut through the atmosphere and brush their target soils in close-shave movements—all coherently edited by Eddie Hamilton—the sensation they generate feels miraculous and worthy of the biggest screen one can possibly find.

Equally worthy of that big screen is the emotional strokes of “Maverick” that pack an unexpected punch. Sure, you might be prepared for a second sky-dance with “Maverick,” but perhaps not one that might require a tissue or two in its final stretch.