‘Top Gun: Maverick’ Most-Streamed Movie Debut Ever on Paramount+

Paramount+ announced that the year’s biggest box office hit and Golden Globes nominee Top Gun: Maverick was the biggest movie premiere ever on the subscription streaming video platform.

The Tom Cruise-starring sequel to the 1986 original Top Gun topped previous record holder Sonic the Hedgehog 2 by 60% viewership. Streaming interest in Cruise movies increased as well, with the original Top Gun upping its viewership on Paramount+ by 400%, and the “Mission: Impossible” movies growing viewership by 150%.

“The runaway success of this film across theatrical, digital and now in streaming is an undeniable proof point demonstrating the power of Paramount’s multi-platform release strategy,” Brian Robbins, CEO of Paramount Pictures and chief content officer for movies and kids and family at Paramount+, said in a statement. “Across all our 2022 titles, and now with Maverick, our studio has unlocked the value of variable windowing that streaming provides to augment a film’s overall success.”

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Indeed, Paramount is ending a banner year at the box office, with six movies debuting at No. 1 in their respective theatrical weekend premiere, including Maverick (which generated the studio’s highest-ever North American box office revenue and was the first movie to win both the Memorial Day and Labor Day weekend box offices); Sonic the Hedgehog 2; Smile; The Lost City; Scream and Jackass Forever.

Paramount+, which ended the most-recent fiscal quarter (ended Sept. 30) with 46 million standalone subscribers, this month added service to France, Austria, Germany and Switzerland.

‘Top Gun: Maverick’ Available to Stream Globally

Box office hit Top Gun: Maverick is now available to stream globally on Paramount+ in the United States as well as in Canada, Australia, Germany, Switzerland, Austria, Italy, the United Kingdom and Latin America.

It will be available in South Korea and France in 2023.

In the film, after more than 30 years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of Top Gun graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign “Rooster,” the son of Maverick’s late friend, and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose.” Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.

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This Week’s MPN Podcast: ‘Top Gun: Maverick,’ ‘Nope’ Reviews; Box Office Report

On this week’s episode of the Media Play News podcast, hosts Charles Parkman and Charlie Showley cover the movie that Charlie has been raving about all summer: Top Gun: Maverick. In going over the review by John Latchem the movie is discussed as being a satisfying sequel to the original Top Gun, which came out over 35 years ago in 1986. Maverick pushes the nostalgia buttons for viewers who loved the first movie, but doesn’t lean too heavily on it as some recent franchise reboots have tended to do. Charlie goes on for an extended period about how his expectations for the movie were extremely low going into it and ended up vastly exceeding them. The combination of perfectly executed (albeit simple) plot beats and in-camera shots from jets made the movie well-deserving of Tom Cruise’s largest grossing film of all time.

Continuing the high profile lineup of the episode, the hosts cover another review by Latchem, for Nope, which Charlie has talked about seeing on a previous episode. It was a symbolism-heavy knockout by auteur director Jordan Peele, and while Charlie wasn’t quite as impressed with it as he was with Get Out, after thinking about it for a few weeks since initially seeing it he has concluded it was an excellent movie. On the opposite end of the spectrum, at the box office the No. 1 movie was Black Adam, leading the theatrical take for its second week of release, followed by an assortment of horror movies keeping in spirit with the Halloween season.

Top Gun: Maverick


Street Date 11/1/22;
Box Office $716.58 million;
$25.99 DVD, $31.99 Blu-ray, $37.99 UHD BD;
Rated ‘PG-13’ for sequences of intense action, and some strong language.
Stars Tom Cruise, Jennifer Connelly, Miles Teller, Glen Powell, Monica Barbaro, Lewis Pullman, Jay Ellis, Bashir Salahuddin, Charles Parnell, Jon Hamm, Val Kilmer.

Among the many considerable plaudits earned by Top Gun: Maverick during a historic box office run, one of the most remarkable might be the degree to which it retroactively makes its predecessor a better film.

The long-awaited (and pandemic-delayed) sequel to 1986’s Top Gun finds Pete Mitchell, callsign Maverick, the hotshot fighter pilot played by Tom Cruise, older but not much wiser — still flaunting the rules and refusing to evolve beyond his core identity as a naval aviator.

Tucked away from official duty while serving as a test pilot for a new stealth fighter called the Darkstar, Maverick is summoned back to Top Gun with orders to train a group of elite graduates from the famed dogfighting school for a mission to bomb an illegal nuclear facility in an unnamed rogue nation (which is definitely not Iran, wink wink). The mission is said to be nearly impossible to pull off, with the pilots forced to contend not only with GPS jamming and anti-aircraft missiles, but also the threat of new technologically superior fifth-generation enemy fighters. The key to survival will be how could the pilot in the cockpit truly is.

The film is essentially what it would feel like if the entirety of the first “Star Wars” movie were focused just on the pilots training for and carrying out the attack on the Death Star.

As to Maverick’s own personal growth, one stumbling block may be that he still blames himself for the death of his best friend, Goose, in the original film. The sequel, thus, provides some measure of a pathway to atonement in the form of Goose’s son, Rooster (Miles Teller), who is among the new generation of pilots vying for a spot in the mission, and who resents Maverick for trying to impede his own career.

In his return to San Diego (even though in real life that’s not where Top Gun is located anymore), Maverick even gets a chance to catch up with old flame Penny (Jennifer Connelly), whose character is mentioned in the original film as a prior dalliance for the young pilot.

Thus, the two films, when taken together, tell the grand arc of Maverick learning where he fits in the world — and either adjusting to the new reality or testing its limits until it kills him.

While it also succeeds on its own merits, the sequel is evocative of the original but not a straight retread. There are scenes and characters that echo what came before, but the screenplay uses such nostalgia to enhance the story, rather than rely on it. In turn, circumstances of the original film take on greater meaning now that we know how they pay off.

That’s because Top Gun: Maverick works on so many levels, from an emotionally exhilarating story of an ersatz family coming together, to an eminently watchable, fist-pumping patriotic thrill ride.

Joseph Kosinski proves to be a deft choice for the director’s chair, bringing his reputation for strong visual dynamics to bear in making the film seem like a tribute to the late Tony Scott, whose work helming the original helped redefine the action genre. Fittingly, Top Gun: Maverick is a throwback to the heyday of action films that didn’t try to be more than they needed to be — entertaining crowds with charismatic movie stars, exciting combat, a love story to raise the stakes, and some chart-topping pop tunes (which in the case of this film should give Lady Gaga a chance at another Oscar).

The aerial photography is breathtaking, with the only potential drawback from a visual standpoint being the use of the F-18 Superhornet as the primary hero fighter. The F-18 has been featured in a lot of movies before, but it looks like a generic assembly line fighter jet and just doesn’t have the sexy big-screen presence of the F-14 Tomcat, which was featured in the original film.

Of course, switching from the F-14 to the F-18 was pretty much mandated by the constraints of reality, as the Tomcat was retired from active service in 2006, replaced by the F-18 as the primary naval fighter (with the F-35 set to take on more prominence going forward). The only country today still flying the F-14 in their fleets is Iran (just like the “fictional” enemy in the film, wink wink).

Cinematically, the film takes the original’s catchphrase of “the need for speed” to the next level, putting the actors in real F-18s to pull legit G-forces that you can see on their faces and practically feel through the screen. With the F-18 coming in both single and dual-pilot configurations, the production could stick the actors in the backseat and film them as if they were flying the single-seat version.

The earnestness of the filmmaking and cinematography gives the film an unmatched level of verisimilitude that makes it effortless to enjoy — despite what seems to be a cottage industry of former fighter pilots popping up on YouTube to analyze the technical inaccuracies of the film.

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The key question of the film is, as an aging pilot, where does Maverick belong? To many film fans, the answer to that question isn’t just that he belongs in the air, but in the cockpit of an F-14 Tomcat, which is perhaps the most iconic fighter plane of all time thanks in no small part to being featured in 1980s films such as Top Gun.

Being well aware of this, it’s a good bet the filmmakers will find a way for Maverick to find his way back to the F-14. And when they do, it’s a pure hit of that sweet sugar we all crave.

The filmmakers know exactly what they’re doing, taking full advantage of basic screenwriting lessons of setup and payoff. This is a screenplay that tells you exactly where it’s going, and it’s a ride you want to take.

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The 4K presentation of Top Gun: Maverick is simply stunning, with reference-quality visuals and sound that should really push the boundaries of what home theaters can do. The HD presentation features a shifting aspect ratio, expanding to fill the screen during the aerial scenes to take advantage of the Imax photography used during production.

The film is offered in standalone 4K, Blu-ray and DVD editions — frustratingly, none of the wide releases are combo packs, aside from a code to access a digital copy being included with the 4K and Blu-ray sets. There is a limited-edition Steelbook with both 4K and Blu-ray included. A gift set of both films on both 4K and Blu-ray is due Dec. 6.

Only the Blu-ray editions include bonus materials, which are also accessible through the digital copy at some retailers.

These include several insightful behind-the-scenes featurettes. The eight-minute “Breaking New Ground” delves into the challenges of finding the techniques to make the film as realistic as possible, including creating new cameras for the cockpits; the nine-minute “Cleared for Take Off” invites viewers into the training the actors received to film the aerial sequences; the five-minute “A Love Letter to Aviation” deals with Cruise’s passion for flying and how he piloted his own World War II-era P-51 Mustang plane in the film; and the seven-and-a-half-minute “Forging the Darkstar” looks at the filming of the fictional plane prototype in the opening sequence, for which the the Lockheed Martin Skunk Works development team was brought in to lend an air of authenticity.

Also included are music videos for the songs “Hold My Hand” by Lady Gaga (the new love theme that in tandem with the original film’s theme serves as the basis for the new film’s musical score), and “I Ain’t Worried” by Onerepublic (the song that accompanies the beach football scene that is this film’s version of the original’s volleyball scene).

Exclusive to the 4K disc (and digitally) is “Masterclass With Tom Cruise,” a terrific 50-minute discussion with Cruise at the Cannes Film Festival about his career.

Among the extras available digitally are a 26-minute promotional video of comedian James Corden going through pilot training with Cruise. There’s also a short video from CinemaCon of Cruise introducing a screening of Top Gun: Maverick while filming an aerial stunt for the upcoming Mission: Impossible — Dead Reckoning Part One, a trailer for which also is included.

‘Top Gun: Maverick’ Grabs Most Digital Sales Ever on Weekly U.K. Home Entertainment Chart Debut

After upending the box office, Paramount Home Entertainment’s release of Top Gun: Maverick across global retail markets is showing no signs of slowing down.

Following its release on digital platforms, Maverick quickly became the biggest-selling No. 1 debut in 2022 (through Aug. 31) and in the history of the Official Film Chart — the U.K.’s weekly home entertainment sales chart for transactional VOD and packaged media.

The critically acclaimed sequel to the classic 1986 air force action film re-unites Tom Cruise with former on-screen buddy Val Kilmer, as well as a newcomers Miles Teller, Jennifer Connelly and Glen Powell.

The original Top Gun rebounded to No. 3 on the chart, and a special combination package featuring the original and its sequel is another new entry during the week at No. 8.

Elsewhere, Dog Soldiers, a 2002 British action-horror starring Sean Pertwee and directed by future “Games of Thrones” and Thor: The Dark World director Neil Marshall, marked a new entry on the chart at No. 9, following a special re-release to celebrate its 20th anniversary.

And finally, former chart topper Uncharted (Sony Pictures Home Entertainment) moved back up six spots into the top 10.

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The Official Film Chart Top 10 – Aug. 31, 2022

Rank Previous Week Movie Distributor

© Official Charts Company 2022

Edge of Tomorrow


Street Date 7/5/22;
$24.99 UHD BD;
Rated ‘PG-13’ for intense sequences of sci-fi action and violence, language and brief suggestive material.
Stars Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson.

There’s always something fun about seeing characters trapped in a time loop, reliving a day over and over but looking at it each time from a slightly different perspective in an attempt to change the outcome. It’s certainly not a new concept for sci-fi or fantasy, with Groundhog Day being the best-known example (though “Star Trek: The Next Generation” had done a time loop episode a year before that movie came out).

Director Doug Limon’s highly entertaining 2014 film Edge of Tomorrow, based on the Japanese light novel All You Need Is Kill, put a fresh spin on the formula by making it a war movie, forcing its protagonist (Tom Cruise) to relive a bloody battle until he can unlock the secret to saving humanity from an alien invasion.

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Cruise at the time seemed to be fully entrenched in a Charlton Heston phase, similar to how that legendary actor spent the middle-age portion of his career hammering out a series of science-fiction films. In the decade or so prior, Cruise had appeared in Minority Report and War of the Worlds, and had just come off of Oblivion from director Joseph Kosinski, with whom he would reteam for Top Gun: Maverick.

Thus, it’s quite amusing to watch the progression of Cruise’s character, Maj. William Cage, as he adjusts to his circumstance. In something of a parallel with Cruise’s own career, Cage begins the film as a smooth-talking military PR flunky who gets by on charisma alone, not unlike 1980s Cruise, until a vindictive general forces him into combat. The hapless Cage is quickly killed, but the circumstances of his death cause him to relive the day every time he’s killed. This allows him to hone his combat skills enough to become action hero Tom Cruise.

He finds an ally in Sgt. Rita Vrataski (Emily Blunt), who once experienced the same thing, and used her power to defeat the aliens in battle before it wore off. Turns out, the aliens are the ones resetting the day, adapting each time they lose so they can eliminate humanity’s defenses.

This gives Cage a clear objective. Find the source of the aliens’ ability to manipulate time, and destroy it. This really gives the film the feeling of a video game, with Cage as the player who has to start the level over each time he loses a life.

For his part, Limon says in the bonus featurettes that the film isn’t as much inspired by video games or alien movies as it is his reaction to what he doesn’t like about them, and his desire not to make a boring film that relies on cliché.

The film stretches its concept as far as logic allows, anticipating plot holes or questions the audience might have and then providing the answer. For example, there comes a point when Cage can’t keep Rita alive past a certain point, which only serves to highlight why he still needs her to carry out his mission. Sure enough, the next time through Cage tries it solo (though this leads to a new set of complications).

The editing is crisp, keeping viewers fully informed about what’s going on without the need for repeating events more than required. The visual effects are a nice mix of practical sets and CGI that look great in HD.

The film also subtly reminds viewers of our own cycle of warfare by linking the alien invasion to some of the famous battlefields of the two World Wars (particularly the beaches at Normandy).

Screenwriter Christopher McQuarrie had worked with Cruise on 2012’s Jack Reacher, and the creative team would align again in 2015 when McQuarrie took over directing duties for the “Mission: Impossible” franchise. He was also one of the co-writers on the Top Gun sequel.

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At the time of its release, the biggest complaint about Edge of Tomorrow seemed to be that the studio saddled it with a sappy title that seemed better suited for a soap opera than a hard-boiled sci-fi actioner (for which the novel’s original title of All You Need Is Kill would have proved sufficiently badass). This might have hampered marketing efforts to built audience awareness, though the film still managed to earned more than $100 million domestically and bring in enough worldwide to double its budget. It enjoyed a second life and became something of a cult hit on home video, where the tag line “Live. Die. Repeat” was given such prominence in the packaging and promotional materials that fans and retailers assumed the studio had re-named it, leading to even more confusion about what the actual name of the film was.

There were rumors of a sequel in development that would have been called Live Die Repeat and Repeat, but the pandemic seems to have delayed production enough that the studio is now pursuing an HBO Max spinoff instead.

The Edge of Tomorrow 4K Ultra HD re-release includes the same bonus materials as earlier releases of the film. The combo pack has no extras on the 4K disc, and the regular Blu-ray is the same as previously released, offering a few inconsequential deleted scenes and about an hour’s worth of behind-the-scenes featurettes that focus mostly on the stunts and special effects.

Tom Cruise Remains ‘Top Gun’ at the Box Office as ‘Maverick’ Hauls in $86 Million in Second-Weekend Revenue

Worries about a sophomore weekend slump proved misguided as Paramount Pictures’ Top Gun: Maverick generated an estimated $86 million in ticket sales across more than 4,700 North American screens.

The $291 million domestic tally now marks Tom Cruise’s biggest North American release, surpassing $243 million for War of the Worlds in 2005. Internationally, Maverick has topped $257 million. More impressively, the sequel saw just a 32% drop from its $160 million opening weekend total — far below other recent blockbusters, including Spider-Man: No Way Home, Doctor Strange in the Multiverse of Madness (both 57% declines), and The Batman, which saw a 50% drop in second-weekend ticket sales.

Disney-owne 20th Century Films’ The Bob’s Burgers Movie rounded out the podium with $4.5 million in week-two ticket sales, which upped its North American total to $22.2 million.

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Universal Pictures’ animated film The Bad Guys continued its strong box office run, adding $3.3 million in revenue to up its North American tally to $87 million.

The studio’s Downton Abbey: A New Era added $3 million to up its North American total to $34 million, and finish in the top five for the weekend.

Reelgood: Original ‘Top Gun’ Movie Dominated Weekly Streaming Through June 1

Paramount Pictures’ original 1986 movie Top Gun was the most streamed title for the week ended June 1 following the May 27 theatrical release of Top Gun: Maverick, according to new data from Reelgood, which tracks first-party data how its 5 million users in the United States interact with movies and TV shows on the platform in real-time.

Disney+’s much-anticipated series “Obi-Wan Kenobi” finished No. 2 in its first week of release. Netflix’s season four debut of “Stranger Things” ranked No. 3, followed by The Lost City on Paramount+ and Netflix’s “The Lincoln Lawyer” at No. 4. At No. 8 was HBO Max’s Fantastic Beasts: The Secrets of Dumbledore.

Top 10 Shows and Movies of the Week

1. Top Gun (Paramount+ and Amazon Prime Video)
2. “Obi-Wan Kenobi” (Disney+)
3. “Stranger Things” (Netflix)
4. The Lost City (Paramount+)
5. “The Lincoln Lawyer” (Netflix)
6. “Better Call Saul” (Netflix and AMC+)
7. Sonic the Hedgehog 2 (Paramount+)
8. Fantastic Beasts: The Secrets of Dumbledore (HBO Max)
9. “Night Sky” (Amazon Prime Video)
10. Chip ‘n Dale: Rescue Rangers (Disney+)

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Samba TV: Original ‘Top Gun’ Movie Tracked 2 Million Viewers on Paramount+

As Paramount Pictures’ sequel Top Gun: Maverick dominated the box office in its debut weekend, the original 1986 Tom Cruise actioner Top Gun continues appeal to streamers as well.

New data from Samba TV found that 2 million U.S. households watched the original movie on Paramount+ over the seven-day period ended May 30. Samba, which tracks an addressable footprint of 46 million opted-in devices worldwide, said the U.S. audience skewed wealthy (income over $200,000+ +27%) and white (+13%). Of the top 25 largest designated market areas, Pittsburgh over-indexed the most (+34%), followed by Portland, Ore., (+25%) and Cleveland (+21%).

Paramount+ added 6.8 million subscribers in the most-recent fiscal period. The hybrid SVOD/AVOD platform (formerly CBS All Access) ended the period with almost 40 million subs — up 140% from 16.5 million in the previous-year period.

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‘Top Gun: Maverick’ Tops $156 Million in Debut, Best Memorial Day Weekend Opening Ever

Show me the money!

The words might be from a different Tom Cruise movie (Jerry Maguire), but the impact is just the same. Paramount Pictures’ oft-delayed blockbuster sequel Top Gun: Maverick finally hit the big screen with a smash — generating more than $156 million in projected North American ticket sales across 4,725 screens over the four-day Memorial Day weekend.

The tally tops the previous Memorial Day weekend record of $153 million set by Disney’s Pirates of the Caribbean: At World’s End in 2007.

For Cruise, the sequel to the 36-year-old original Top Gun marks the actor’s highest-grossing movie debut.

Rounding out the Memorial Day domestic box office: Disney/Marvel Studios’ Doctor Strange in the Multiverse of Madness with $21.1 million to bring its domestic total to $375 million, and 20th Century Studios’ The Bob’s Burgers Movie, which generated $15 million in its theatrical debut across more than 3,400 screens.

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