Twisters – Review

Growing up in a city free of natural disasters, storm chasing has always been a foreign concept. The idea of taking hours-long drives to catch a raging, harrowing force of nature in action for a relatively short time comes across as perplexing, especially since the sightings aren’t even guaranteed in the first place. Sure, the recreational pursuit is all in the name of thrill-seeking, but does the delayed gratification make up for the prospect of disappointment? 

Twister, released in 1996, made a convincing argument for the adrenaline rush, compounded by the intrigue behind a tornado’s formation. Despite science and technology, nobody really knows what causes it, so data collection fits nicely into the film’s logic – except it’s an obvious MacGuffin. A special effect wonder of its time, the disaster film blew expectations away (hah) with roaring winds and white-knuckled excitement, proving that weather can be part of the cool club, too. 

Almost 30 years later, Twisters (yes, that’s Twister with an ‘s’, like the upcoming Aliens) brims with the same spirit. A standalone sequel, it features a new cast and looks to sweep up loftier ambitions with a touch of real world relevance, all while wearing the “summer movie” identity on its sleeve. The opening sets up the kind of pulse-beating, destructive action to come, following the knowledge-hungry Kate Cooper (Daisy Edgar-Jones, Normal People) and her college peers as they attempt to tame, or rather, “kill” a tornado.

But tornadoes are, quite literally, a force to be reckoned with. What should have been an EF1 – short for Enhanced Fujita, used to rate tornado intensity – threat turns out to be an EF5 beast, and the trip ends on a tragic note. Five years later, a PTSD-inflicted Kate has settled down as a meteorologist in New York, away from her home town of Oklahoma, until Javi (Anthony Ramos, Hamilton), from the early days, pops back into her life. 

Working with the military on technology that could alter storm science and save towns, he requests for Kate’s help to track down twisters with her uncanny sixth sense, except they aren’t the only ones doing the chasing. Enter Tyler Owens (Glen Powell, Top Gun: Maverick), a cocky self-proclaimed “tornado wrangler” who runs a hit YouTube channel and finds enjoyment out of the thrill, just like the rest of his ragtag crew. It’s a trope as old as time; naturally, there’s more to the character than just hot air, and he starts to form a genuine connection with Kate.

Coincidence or not, the nod to Oklahoma in Twisters is a neat callback for director Lee Isaac Chung, best known for the gripping immigration tale Minari. The family drama was shot on location in Oklahoma, and its rustic overtones do carry over, but his skill in harnessing the human touch shines the brightest here. 

Despite its spectacle-over-plot approach, the film dedicates some time to establish a sense of emotional connection by showing the raw, devastating aftermath of a natural disaster, such as destroyed homes, lost families, and personal trauma. Then, there’s the community spirit of offering aid and support to affected parties, which plays into the larger yet flimsy plot of ethical complexity. 

These instances introduce welcome nuance and real stakes into a film that doesn’t take itself too seriously. Over-the-top moments are frequent occurrences with Tyler’s crew, and it’s amusing to see how the film embraces both the cliché and non-stereotypical characterisation of the cowboy hat-wearing personality: a former bull rider (no Southern accent, thankfully), and master’s degree-level of smarts, respectively. 

The storm chasers also yell out lines that appear to be conveyed to the audience, keeping in line with their YouTuber shtick – “overpasses are the worst in tornadoes,” says someone at one point, when there’s no other cover in sight and death is imminent. Yet, such absurdity manages to find its place in Twisters, and the flick is all the better for it. 

What doesn’t work quite as well is the overuse of country songs. By no means are they bad, but there’s no need to announce the Oklahoma setting each time with a different track featuring twangy vocals, folk lyrics, and stringed instrumentals. The scientific mumbo-jumbo isn’t the most convincing either, especially when it comes to taming a giant violent tornado in the last act; meanwhile, some parts of the script can come across as corny. 

Because it’s not meant to be driven by plot, the film gets a free pass for storytelling gaps. The second reason takes the form of Edgar-Jones and Powell, both of whom command so much attention on the screen that any stray shortcomings are quickly forgotten. The latter, coming off one successful project after another, charms with his roguish, devil-may-care personality and 1000-watt grin, and brings more heart to the character once the showboating, larger-than-life facade is peeled back. 

Much of the heavy lifting is done by Edgar-Jones, however. Emerging as the standout star in Twisters, the British actress expertly navigates between Kate’s vulnerability and her earnest, compassionate self, adding emotional complexity into the mix. Her slow-burn, electrifying chemistry with Powell also evokes a magnetic pull, as the pair engages in a battle of wits, smarts, and competitive streaks. 

The rivals-to-friends progression serves as a foil to Kate and Javi’s relationship, which is rooted in an established friendship and a shared history. While not the biggest fan of love triangles, the combined talent of Edgar-Jones, Powell, and Ramos makes the Kate-Tyler-Javi dynamics more palatable than expected. On the flip side, the glaring weakness of Javi’s characterisation is made apparent – he has his shining moments, but is ultimately neglected as an individual who was set up to play the role of a co-protagonist. 

The same can be said of the ensemble cast. Twisters assembles an eclectic posse in the form of Tyler’s crew, whose scope is limited due to the lack of focus. David Corenswet’s (The Politician, Hollywood) outing as a corporate stick-in-the-mud hardly serves as an adequate precursor to his upcoming tenure as Superman, and Katy O’Brian, of The Mandalorian and Love Lies Bleeding fame, only gets a few speaking lines. Sasha Lane (Loki, American Honey) and singer-songwriter Tunde Adebimpe make a slightly stronger impression as the eccentric, thrill-seeking drone operator Lilly and obsessive weather enthusiast Dexter, respectively; across the board, though, there isn’t anything to write home about the supporting cast performance. 

When the camera swirls to looming, tempestuous tornados, it’s clear that the 28-year gap in special effects tech leans into the film’s favour. To say that these relentless raging cylinders are menacing would be an understatement, with the visual lustre accentuating their might by zeroing in on the buildup, right down to the smallest particle. The action sequences are equal parts impressive and exhilarating, often pushing into adrenaline-pumping, tense territory that keep audiences at the edge of their seats. 

At its core, Twisters does what it sets out to do as a disaster spectacle first, and summer blockbuster second. The flick promises an enjoyable watch with a whirlwind of tight pacing, cheesy charm, and high octane thrills with some emotional weight, fuelled by a power couple at its epicentre. It’s here for a good time, and like a wild, raging twister, nothing can stand in its way of delivering fun.