Tornadoes are back in the game. Twisters, directed by Minari’s Lee Isaac Chung, shows us exactly why we needed another film about these gnarly forces of nature. This standalone sequel to Jan de Bont’s smash-hit Twister, is the ultimate summer blockbuster, guaranteed to have you gripping your seat through the climax, and pumping your fists as the credits roll.
In Twisters, we’re introduced to a new batch of extreme weather enthusiasts, led by Daisy Edgar-Jones’ Kate, a courageous meteorologist with a traumatic past. She crosses paths with Glen Powell’s Tyler Owens, the cocky, self-proclaimed “Tornado Wrangler” after her old friend and fellow storm chaser, Javi – played by Anthony Ramos – asks her to return to Oklahoma to join his research team. While Kate and Javi’s team seemingly aim to gather crucial data about tornadoes for the greater good, Tyler and his crew appear to be driven by thrill seeking YouTube fame. As the story progresses, allegiances shift, twists emerge, sexual tension brews, and the film transforms into a whirlwind of excitement.
Unlike the first film’s non-stop, two-day adventure, Twisters adopts a more varied rhythm, slowing down at times for audiences to delve deeper into the characters’ backstories. There are more in-your-face deep talks between the characters, and though it’s more direct, it doesn’t get too tiresome. Thankfully, these characters are worth rooting for throughout – they’re badass, charming, and enthusiastic. Their presence is ultimately electrifying, regardless of whether their motivations are in the right place.
That said, the thrilling and riveting storm-chasing sequences eclipse the talking scenes at times, making viewers crave more action whenever these tornadoes aren’t on screen. This might seem like a critique, but it’s actually a compliment – a hallmark of a successful disaster flick is how it makes audiences eager to stay immersed within the spectacle and keep riding that high. I, for one, found myself wanting to hop into a truck and chase tornadoes as soon as I left my seat.
Twisters also leverages its modern setting by bringing in new ideas and perspectives, offering a revitalizing take on a familiar premise. As the ‘96 classic introduced the groundbreaking sensors known as Dorothy, Twisters builds on that foundation with newer innovative twists. Now, we witness Tyler Owens boldly parking his car in the suck zone, drilling it deep into the mud, and launching fireworks – an act so sublime and radical that it would probably stun or scare off the 96’ crew.
While both films recognize that these tornadoes are monstrous and destructive, Lee Isaac Chung’s emotional and grounded touch emphasizes this notion further. Chung strongly focuses on the aftermath on top of the storm-chasing, even delving into an aspect of exploitation that was absent in its predecessor. The setting is also meticulously established by Chung, occasionally feeling like an advertisement for Oklahoma, with country tunes playing in the background as characters face off against these storms.
This is a film that thrives on intensity, whether from the tornadoes or the oozing sexual tension between the leads. Just as we felt the chemistry between Jo and Bill in the ’96 Twister, we’re now once again entangled in the equally captivating, and dare I say, sexy dynamic between Kate and Tyler Owens. It’s no secret that Glen Powell can have explosive chemistry with just about anyone, but his gift shines even brighter in the will-they-won’t-they between these two characters.
Even during the film’s quieter moments, their interactions keep your heart racing, never allowing you to catch a break from all the intensity. The cast’s overall synergy is a lot of fun, with moments of comedy that, though infrequent, hit the mark when they do appear. Although Twister gave its storm-chasing crew a deeper sense of genuine camaraderie – Philip Seymour Hoffman’s unique energy is simply unmatchable – it’s nevertheless invigorating to see this generation’s rising stars, like Brandon Perea and Sasha Lane, come together in such a solid ensemble.
Disaster flicks often come with predictable elements, but it only truly goes south when it starts to detract from the fun, which fortunately isn’t the case for Twisters. While it’s clear from the beginning that Kate will confront her demons gradually and rise up to be the hero she was destined to be, the narrative remains engaging to watch because the character and her journey are compelling. Which is also tremendously boosted by Edgar-Jones’ brilliant performance. The film continuously makes familiar choices, keeps them entertaining rather than tedious, and never lapses into boredom.
Notably, Twisters doesn’t attempt to duplicate its predecessor’s formula; instead, it pays homage with subtle nods, such as Kate’s tornado-whisperer instinct, the line “I’m not back,” and a brief appearance of the beloved Dorothy.
Twisters succeeds because it is very much its own thing. To compare both movies feels a little pointless as each one offers its own unique splendor. They’re both enjoyable, exhilarating, endlessly entertaining, and serve as a clear reminder of why we love these summer blockbusters.
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