The 1996 blockbuster "Twister" captivates audiences with its almost innocent simplicity. It presents a monster movie where the antagonist is a tornado, indifferent to the humans pursuing it. Unlike a creature with a grudge, a tornado is devoid of hunger or malice. Its movements may be erratic, yet its behavior remains consistent: it forms, wreaks havoc, and ultimately dissipates.
Consequently, the true fascination lies within the human elements of the narrative. In this regard, "Twister," infused with quintessential mid-90s tropes and featuring an impressive ensemble cast that includes Philip Seymour Hoffman, Alan Ruck, Jami Gertz, and Todd Field—who would later direct "Tár"—excels remarkably. The film's lasting appeal as a classic can be attributed significantly to its frequent broadcasts on cable television, where it is easily accessible. Viewers can tune in at any point and grasp the storyline. The estranged couple, portrayed by Helen Hunt and Bill Paxton, pursues a tornado with the aim of deploying a cleverly named device, "Dorothy," designed to enhance their understanding of the phenomenon and ultimately save lives. There is no need for intricate backstories or elaborate lore.
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Nearly three decades later, "Twisters," presented as a standalone sequel to "Twister," faces a more challenging landscape. The era of uncomplicated original blockbusters has long since passed, overtaken by the dominance of superhero films and expansive franchises. While "Twister" has garnered a dedicated fanbase, the only element that "Twisters" retains from its predecessor is the tornado itself.
Moreover, tornadoes have evolved as well. Upon exiting my screening of "Twisters" and checking my phone, I received a message from my mother, who resides in an area typically associated with blizzards rather than tornadoes. The National Weather Service was issuing alerts for residents to be vigilant about thunderstorms, flash flooding, and, notably, tornadoes.
The term "climate change" is not explicitly mentioned in "Twisters," yet those who experience extreme weather firsthand are acutely aware of its escalating severity. This hurricane season is anticipated to be particularly severe. Travelers during the Memorial Day weekend likely encountered the tangible consequences of this reality. Additionally, tornadoes are increasingly occurring in clusters, which explains the plural form of the film's title.
While weather-related inconveniences are one aspect, the impact of tornadoes and other extreme weather phenomena can be catastrophic for those who survive them—an aspect that "Twisters" explores more deeply than its predecessor. This film focuses on entire communities that suffer the loss of their homes, lives, and livelihoods due to the unpredictable and relentless nature of severe weather. It also examines the individuals who capitalize on this heightened risk, including speculators and social media influencers. In its effort to resonate with a wide audience, "Twisters" undertakes a significant challenge, which it largely succeeds in achieving.
Daisy Edgar-Jones, Anthony Ramos, and Glen Powell are featured in “Twisters.” Credit: Melinda Sue Gordon/Universal Pictures, Warner Bros. Pictures & Amblin Entertainment.
The narrative of “Twisters” revolves around Kate Carter (Daisy Edgar-Jones), a meteorologist who, similar to Helen Hunt’s character from the original film, grapples with the emotional aftermath of a tornado encounter from years past. Currently, she serves as a storm specialist for the National Weather Service in New York City. Having grown up in Tornado Alley, Kate possesses an uncanny ability to predict tornado behavior, including their trajectory, potential intensification, and crucially, the possibility of counteracting their impact.
When her former colleague Javi (Anthony Ramos) arrives, imploring her to join him in tracking tornadoes for a new, potentially life-saving initiative, she hesitantly agrees to head west. (Javi, originally from Florida, attended college with Kate and is deeply invested in the human consequences of severe weather.) Upon reaching Oklahoma, Kate finds that the gathering for the new and particularly active tornado season resembles a carnival atmosphere, filled with tornado chasers. Among them is the brash and reckless Tyler Owens (Glen Powell), who leads a motley crew of chasers that utilize drones and launch fireworks into tornadoes to capture sensational footage for YouTube. Tyler, who brands himself as the “tornado wrangler,” sells merchandise and adopts a cowboy persona, instantly earning Kate's disdain.
The trajectory of this film is somewhat predictable — “Twisters,” featuring a screenplay by Mark L. Smith, is inspired by a narrative from Joseph Kosinski, the director of “Top Gun: Maverick,” and appears to be reminiscent of a 1990s blockbuster. (Kosinski was initially intended to helm the project as a reboot of “Twister.”) This classic formula brings a sense of nostalgia: it is an action-adventure-disaster film that showcases ordinary individuals striving to achieve remarkable feats.
However, it also possesses a distinctly modern flair. This contemporary aspect can be attributed to the direction of Lee Isaac Chung, whose prior work, “Minari,” presented a subtle narrative about a Korean immigrant family and received six Oscar nominations. While “Minari” and “Twisters” belong to vastly different genres, they both reflect an understanding of the American Midwest — particularly the experience of enduring its severe storms — which is deeply influenced by Chung’s own upbringing in rural Arkansas. It is difficult to envision a director better suited for this subject matter, capable of focusing our attention on the survivors while still preserving the excitement of the adventure.
The enjoyment derived from "Twisters" in 2024 largely stems from Glen Powell, the actor who has captured significant attention this year. This marks his third major film release of the year, following the successful romantic comedy "Anyone but You," which gained momentum at the box office shortly after the new year, and the Netflix hit "Hit Man." Powell frequently appears to be relishing his role; however, in "Twisters," it occasionally seems as if he is participating in a different film altogether. His character, a tornado wrangler, embodies a blend of a contemporary cowboy and a romantic lead: he initially presents as unlikable, but gradually reveals a compassionate nature.
In contrast, Edgar-Jones appears rather uninspired, characterized by a lack of depth despite her expressive eyes. The chemistry between the two is difficult to engage with, a sentiment that becomes even more pronounced with the arrival of Maura Tierney as Kate’s mother. It is noteworthy that Ramos, despite his limited screen presence, radiates considerable charisma. Edgar-Jones’s portrayal feels overly restrained, leaving the audience primarily anticipating Powell's return.
The incongruity detracts from "Twisters," resulting in a sluggish pace for the film. One can envision a different actress in the role of Kate—someone with charisma and comedic talent who could engage more effectively with Powell. However, this does not imply that "Twisters" is a failure. The film is filled with entertaining and occasionally humorous sequences, along with sufficient peril to maintain audience engagement.
Moreover, there is a more profound significance at play. A pivotal scene later in the film underscores its intention as a monster movie, depicting a threat whose origins are both foreseeable and enigmatic, necessitating a hero to confront it. In "Twister," the storm was an accepted phenomenon, something to pursue and, ideally, predict through scientific means. Conversely, in "Twisters," the objective shifts from merely forecasting the monster's trajectory—an area where science has made considerable progress—to actively combating it, neutralizing it, and rendering it harmless. The question at hand is the futility of such an endeavor.
The situation is indeed alarming, even if one is not receiving tornado warning notifications while viewing the film. If we are unable to address climate change, can we combat its effects? If so, who stands to gain? Who will exploit our changing weather patterns in the future, and who will bear the consequences? The apocalyptic theme presented in "Twisters" resonates on a more personal level. The concept of a tornado as a monstrous entity serves as a metaphor. However, the tornado itself and the destruction it causes are starkly real.