Login
While pursuing a research grant, Kate Cooper (Daisy Edgar-Jones) takes her team to Oklahoma to find tornadoes and obtain data using the device "Dorothy V." But a dire underestimation results in tragedy, and not all of Kate's colleagues manage to escape a destructive E5-5 tornado. In the aftermath, Kate gives up her storm-chasing activities and moves to New York City for a more relaxed life. Five years later, Kate's old friend, Javi (Anthony Ramos), convinces her to return to the open plains of Oklahoma during a particularly devastating storm season as a new opportunity to gather tornado data could save countless lives. But they are not the only storm-chasers in the region - competing teams are also on the scene, including social media superstar Tyler Owens (Glen Powell), who quickly takes a shining to Kate. With Oklahoma's storm season intensifying and millions of lives at risk, Kate and Tyler begin changing their approach, working together to find a way to stop tornadoes in their tracks before they decimate towns or cities.
With a story developed by Joseph Kosinski (Top Gun: Maverick, Tron: Legacy) and a screenplay by Mark L. Smith (The Revenant, The Midnight Sky), Twisters finds fertile narrative ground and takes full advantage of the contemporary setting. The movie touches upon advances in tornado monitoring technology and satirises social media personalities who engage in storm-chasing purely for likes and views. Links with the original film are tenuous, as there are no returning characters or explicit connections beyond the appearance of a "Dorothy" research device in the opening sequence. This approach is a smart way forward, particularly with the passing of Bill Paxton and Philip Seymour Hoffman, though early reports suggested that Helen Hunt might return and the story would concentrate on her character's daughter. Admittedly, Twisters is overly predictable at times, even incorporating familiar beats from the original movie (a tornado-related tragedy in the opening sequence, rival storm chasers, mistakes while gathering data during storms, a storm hitting during leisure time, a visit home, a massive scientific gamble during the climax), but Chung's execution elevates the material, with a strong sense of pacing and almost unbearable tension at times. Furthermore, the script grounds the narrative in humanity and emotion, with Kate's immense loss weighing heavily on her psyche as she consistently fears the consequences of any potential future failures. This angle provides compelling dramatic heft.
Unlike most contemporary blockbusters, Twisters looks genuinely real instead of hyperreal. Chung and cinematographer Dan Mindel (a frequent J.J. Abrams collaborator) pay respect to the original movie by shooting on location in Oklahoma and capturing the picture on 35mm film, resulting in a natural aesthetic that filmmakers cannot replicate on soundstages with crisp digital photography. ILM's state-of-the-art computer-generated imagery throughout Twisters is seamless, which is a testament to Chung's direction and his superb staging of the tornado sequences. Indeed, Chung still relies on intricate sets, authentic locations, and practical wind and rain machines, while flawless digital trickery enhances the illusion and provides the titular twisters. Chung's inexperience with major blockbusters is not obvious (aside from an episode of The Mandalorian, he has only directed small-scale dramas), as the director excels at staging intense action sequences with the confidence of a genre veteran. The set pieces are riveting and look spectacular on the big screen, with Chung concentrating on the characters amid the chaos instead of pure CGI overload, while one night-time tornado encounter is particularly terrifying because the twister is not always visible. Benjamin Wallfisch's original score augments the picture's intensity, while the atmospheric and deafening sound design convincingly places viewers in the thick of the tornado action. The technical presentation of Twisters is immaculate, delivering the type of immersive visuals that blockbusters should deliver in 2024 (but scarcely do).
Thanks to shrewd casting, the ensemble is immediately likeable from the first frame, and it's easy to become invested in these characters as they chase tornadoes and fight for survival. Like 2022's Top Gun: Maverick, the actors are sufficiently diverse, but the diversity does not feel forced or politically motivated; instead, it works. Following her appearances in movies like Fresh and Where the Crawdads Sing in 2022, Daisy Edgar-Jones shows she has what it takes to be an action heroine here, capably handling the dramatic material and the intense set pieces with utmost confidence. Edgar-Jones is genuinely endearing and feels wholly human, making for a relatable protagonist who is easy to latch onto. Meanwhile, Glen Powell continues to demonstrate his tremendous movie-star charisma here, with Twisters representing another impressive addition to his filmography after the likes of Top Gun: Maverick, Devotion and Netflix's Hit Man. Powell has been going from strength to strength since Maverick in 2022, and it is refreshing to see Hollywood pushing an up-and-coming performer who actually deserves major opportunities. The rest of the ensemble is equally strong, with Anthony Ramos and future Superman David Corenswet making a positive impression.
Movie-goers frequently approach legacy sequels - and contemporary blockbusters in general - with understandable ambivalence due to Hollywood's current status quo and spotty track record. However, Twisters is a rare win, representing a respectful and reverent follow-up to a beloved '90s classic and a compelling, intense, heartfelt blockbuster that confidently stands alone.
8.1/10
