These are the most interesting new movies this week | De Volkskrant

Tom Cruise in Top Gun: Maverick.

Bye Bor, why do we all have to go to the cinema for Tom Cruise in Top Gun: Maverick

‘In Top Gun: Maverick, the sequel to the 1986 action classic, Maverick – played by Cruise – must prepare a young generation of pilots to launch an air raid on a non-US uranium factory. Where in the original the macho battle between Maverick and the other American top pilots was paramount, the rivalry between the pilots plays less of a role here.

‘In short, the sequel is mainly about Maverick, who proves that he cannot yet be written off. Yes, a new generation is emerging top gunners but we mainly see Cruise who wants to hold onto the baton for a while – he still wants to be the best. That gives a nice dynamic to this film. Also amusing: there is more humor in it. Maverick himself also realizes that he is considered an old fart by the younger generation.

‘And what I wrote in my review (★★★☆☆) is that you can see the plot twists coming from miles away even without a jet. But that is also what makes the film entertaining; if you can get the slightly too muscular, carved one-liners right, and Cruise can do that, then it will be fun. Top Gun: Maverick knows on the one hand to honor the old film, and on the other hand to give it a different twist. Yes, definitely a successful sequel.

What’s nice to say: at the film festival in Cannes, Cruise seemed to have made it his personal mission to save the cinema world. He went to cinemas, he said, with the message: don’t worry, this one Top Gunand soon also the new part of Mission Impossiblecoming.’

Which film still stands out?

‘That is Huda’s Salon (★★★☆☆), which I deliberately don’t want to reveal the plot of, because the film grabs you by the guts in the first few minutes. Well, if I have to give something away, we see two Palestinian women get caught up in the clutches of Israeli intelligence.

‘The Dutch-Palestinian Hany Abu-Assad alternates Hollywood films with a huge budget with smaller films, for which he travels to Israel and Palestine. These smaller, often very exciting and compact films are usually about life under occupation and how it crushes and destroys a society. Hany likes the thriller genre, but he wants to make thrillers with a deeper layer, in which characters are confronted with all kinds of moral issues.

‘There has been quite a bit to do to Huda’s Salon† A nude scene from the film was previously posted on the internet with malicious intent, Palestinian society was in turmoil. As a result, the two actresses went into hiding. Painful, so the film was not released there either.’

And this is also worth a look:

In the French costume drama Illusions perdues (★★★★☆) Lucien tries to climb the social ladder in 19th-century Paris. When he fails to get his poems published, he resorts to journalism, or whatever passes for it. ‘The film shows a world where integrity has long since lost out to individual happiness’, writes Pauline Kleijer in her review. Also nice: the costumes are taken care of down to the last detail, the sets wonderfully lavish.

Filmmaker and artist Tim Leyendekker sets the tone for his feature debut with a meticulous yet exciting scene feast (). That debut is based on the notorious Groningen HIV case from 2007, in which several visitors to homosexual group sex parties were deliberately infected with HIV. Leyendekker is not interested in a sensational reconstruction, according to Pauline Kleijer, feast stays far from judgment. ‘Not all parts are equally strong, but the end result is fascinating.’