There’s no denying that I am a huge fan of small and intimate original stories. However, when it comes to a giant scope and entertaining ride, call me a glutton, but the summer blockbuster season is a cinematic experience I feast on yearly. It’s not without its misses, but when one arrives that hits on all cylinders, it’s impossible not to evoke the overused but effective term, “We’re so back.” And when it comes to the latest in the Summer Blockbuster legacy sequel era, Twisters, we’ve never been so back.
“If you feel it, chase it” has never rung truer than in Lee Isaac Chung’s Twisters. An old-school summer blockbuster spectacle, this film embodies the season in grandiose fashion with thrilling and impressive set pieces, aided by compelling and emotionally rich storytelling.
Twisters gets rolling with one of the most tense-filled opening sequences in quite some time. During that opening sequence, we are introduced to Kate and Javi, who, after a devastating encounter with a tornado, go off on distinctively different paths. Javi creates a new tracking system, while Kate moves to New York. However, as storms intensify, Javi brings Kate back into the fold. Along the way, Kate and company meet the storm wrangler himself, Tyler Owens, and his crew of popular YouTubers.
With a story by Joseph Kosinski and a screenplay by Mark Smith, the duo evoke the core elements of what made the 1996 classic work and amplify it with modern technology, making the storm sequences a stunning showcase of visual effects. What aids Smith’s screenplay is Lee Isaac Chung’s direction. Known for his intimate and delicate touch in his Oscar-nominated Minari, Chung’s direction and Smith’s screenplay effectively add layers to all the characters, balancing important emotional depth with the high-intensity scope these storms bring throughout the film. Fully embracing the ideas of letting go, the pursuit of knowledge, and leaving an impact, the thematic elements are just as important to the film’s success as the whirlwinds of tornadoes.
As with legacy sequels, there’s no denying that the screenplay does suffer from essentially recapturing some of the beats of the original. While this may deter some, it doesn’t fully remove the elements of excitement that Twisters will evoke from an audience once that first tornado hits the screen.
While Twisters is rich with exceptional supporting work by Anthony Ramos, Brandon Perea, Sasha Lane, and Katy O’Brian, it’s Glen Powell and Daisy Edgar-Jones who are absolute dynamite. It’s just two movie stars doing movie star things, as the duo’s charm and chemistry are infectious. Powell continues his upward trajectory into the future of Hollywood, while Edgar-Jones offers a nuanced and compelling take. She embodies both fear and determination beautifully, as the film’s most emotional moments fall at her feet, and she crushes them all.
The sound design deserves praise as one of the crucial elements in making the film’s large-scope sequences work best. The sound design immerses you into the full raw power of the tornadoes, and as someone who screened the film in 4DX, the third act of this film is one of the most tense and incredible theatrical experiences I’ve ever had.
Sure, Twisters was lacking a flying cow, but what it does offer is a thrilling ride that stands hand in hand with the 1996 original. In the era of summer blockbuster legacy sequels, there’s Mad Max: Fury Road, Top Gun: Maverick, and now Twisters.
