As a longtime fan of the original “Twister” movie, I approached this sequel with a mix of excitement and trepidation. Having grown up in the Midwest, I hold a deep appreciation for the majesty and terror that tornadoes can bring. So, when I heard that Lee Isaac Chung was taking the helm of this new adventure, I couldn’t help but feel intrigued by the prospect of an authentic and thoughtful exploration of these powerful natural disasters.
“Twister,” directed by Jan de Bont in 1996, is the near-perfect movie I’ve encountered numerous times throughout my 30-year film-watching journey. I don’t mean just catching it at the theater or casually watching a re-run on TV, but repeatedly revisiting this disaster flick, perhaps around 300 times in total. A few of these viewings even included French subtitles due to an odd issue with the DVD player. It’s hard to imagine someone more captivated by “Twister” than I am; if such a person exists, let them toss the first tomato!
Despite the high temperatures and the odds being stacked against it, “Twisters” manages to leave an impression. It may not completely astound or amazes, but it definitely satisfies the viewer’s curiosity. The month is July, and the heat wave has made the earth feel like the surface of the sun. With fewer destination viewing events due to last year’s devastating strikes, the eagerness of audiences to watch Glen Powell don a cowboy hat and face oncoming tornadoes is at an all-time high.
As a big fan, I have to admit that “Twisters” falls short of the enchantment of its predecessor for me. However, if we forget about the daunting challenge of living up to that legendary title, “Twisters” still manages to provide an enjoyable and heartfelt experience. It may not proudly step out of its forebear’s shadow, but it does sweetly peek out to wave hello with a endearing charm.
Neither a reboot nor a legacyquel, but a secret third thing
In 2020, according to Variety’s report, Joseph Kosinski was under consideration for directing a remake of “Twister.” Although this project didn’t materialize as planned, he still holds a “story by” credit in this new film. However, unlike his work on “Top Gun: Maverick,” this production is not a reboot or sequel but an innovative approach. Mark L. Smith, the screenwriter, and Lee Isaac Chung, the director, aim to preserve what made the original successful while occasionally reversing its plotline as a harmonious counterpart.
In simpler terms, “Twister” tells the story of a meteorologist named Javi (Anthony Ramos), who used to be part of a wild storm-chasing team with his colleague Kate (Daisy Edgar-Jones). After a tragic accident where Kate’s miscalculation during a tornado prediction resulted in the death of her lover and their friends, she left the storm chasing world. Years later, Javi approaches Kate with a new opportunity to join forces and use military-grade radars to study tornados from within. However, they face competition from Tyler Owens (Glen Powell) and his YouTube channel crew, who are more free-spirited in their approach. The film adds intrigue by altering the dynamics between these characters and their motivations surrounding storm research.
As a gamer, I’d say: “In ‘Twister,’ Bill Paxton and Hunt shined as our main characters, but the supporting cast was nothing short of stellar. Alan Ruck from ‘Succession,’ Todd Field from ‘Tar,’ and the late Philip Seymour Hoffman brought their A-game to every scene they were in. The background players felt like real people, not just extras. Michael Crichton and Anne-Marie Martin’s script was a masterpiece that benefited from the addition of talented writers like Joss Whedon and Steve Zaillian. However, some lesser-known actors, such as Tunde Adebimpe from TV on The Radio and Katy O’Brian from ‘Love Lies Bleeding,’ added depth to the story. But unfortunately, even newcomer David Corenswet was given a weak antagonist role in comparison to Cary Elwes’ memorable one in the original. The focus on our leads was intense, which made their performances stand out, but it left less room for other characters to develop fully.”
As a gamer, I can rephrase this description in a more relatable and first-person perspective: In this film, Powell’s magnetic charm steals the show, making every scene feel like a blockbuster moment with a leading man. However, he doesn’t make an appearance until halfway through. During that time, Edgar-Jones delivers a solid performance but fails to capture the same level of charisma. Their slow-building romance is endearing, but it lacks the quick wit and banter between Paxton and Hunt that made the original so memorable. As for Ramos, his role has depth and growth, but he seems disconnected from the main ensemble. Still, the breathtaking storm scenes are worth sticking around for, making all the earlier moments worth enduring.
Should a movie this distressing be so feel good?
For those puzzled by the choice of “Minari” director Lee Isaac Chung to helm the sequel to a legendary disaster movie, let me clarify. The moment you witness Chung and frequent collaborator cinematographer Dan Mindel’s breathtaking visuals of vast landscapes and wheat fields, you’ll understand why Amblin Entertainment’s logo fits perfectly. Chung excels at portraying the film’s emotional core through his intimate, heartfelt storytelling. However, he accomplishes this by weaving a complex narrative thread that skillfully combines thrilling disaster scenes with the fear of their destructive aftermath. In “Twisters,” audiences must experience both the protagonist’s awe-inspiring fascination with tornadoes and the genuine terror they instill. It’s an intriguing dance between Tyler’s exhilarating cowboy exclamations and Chung’s sensitive, introspective exploration of the devastation left behind.
The film’s strong Americana theme frequently clashes with the poignant reflections on widespread tragedy in the movie. Benjamin Wallfisch’s score skillfully straddles the line between upbeat summer blockbuster and somber rumination, but is disrupted by an abundance of popular rock and country songs. Initially, these tunes seem essential to showcase the antics of Tyler’s “Jackass”-inspired group, but with over 30 tracks on the soundtrack, they eventually feel more like intrusive advertisements than enhancing elements. By the film’s halfway point, it appears as if a continuous Coors Light commercial is interrupting a far superior production. It seems that the filmmakers were unable to fully explore the heartland without this excessive level of commercialization.
The film’s unique musical selections and central idea, presenting an extraordinary number of storms in Oklahoma, create an opportunity for climate change discussions that the movie itself avoids. Regrettably, “Twisters” fails to address this topic at all, instead focusing on more palatable themes such as unity, community, and aiding others. These concepts are commendable, yet it would have been thought-provoking to delve into something more complex once in a while.
“Twisters” blows into theaters July 19.
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2024-07-17 17:31