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In “Top Gun: Maverick,” the breathless, gravity and logic-defying “Top Gun” sequel that somehow makes all the sense in the world despite landing more than three decades after the late Tony Scott’s original, an admiral refers to Tom Cruise’s navy aviator Pete Mitchell—call sign “Maverick”—as “the fastest man alive. Reportedly, all the flying scenes—a pair of which are pure hell-yes moments for Cruise—were shot in actual U.S. Navy F/A-18s, for which the cast had to be trained during a mind-boggling process. The authentic work that went into every frame generously shows. 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 are 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.