Hurdling in this past July, Twisters owned a summer spotlight (other than “Deadpool & Wolverine,” which grossed $994.49 million), rebooting its predecessor of a film of the same name from 1996.
While it was given mostly positive ratings from fans and critics, the film grossed $369.7 million worldwide, a total still shy of the original film’s profit at $495.7 million worldwide, an article from Screen Rant said.
The plot differs from the original, igniting with the story of Kate Carter (Daisy Edgar-Jones), who works with her four storm chaser friends in Oklahoma. Kate and her team develop a product made of sodium polyacrylate meant to destabilize tornadoes. To test it, however, it must be released within the path of an active tornado.
During a failed research test, the group finds themselves in the path of a tornado that intensifies into an EF5, effectively leaving Kate and her friend Javi (Anthony Ramos) as its sole survivors. Her boyfriend, Jeb, is also taken in the tragedy.
The rest of “Twisters” follows Kate, who effectively retired from storm-chasing five years after the incident. Javi visits her in New York in an attempt to ask her to wield her tornado-detecting skills for his tornado radar company, Storm Par.
Reluctant, she decides to help out—but only for a few days.
Along the way, she meets Tyler Owens (Glen Powell): an influencer personality loaded with charisma and the attitude of a playboy with a flashy smile. Owens takes to Kate immediately, questioning her mysterious demeanor and tornado-sensing capabilities.
The romance between the two is sweet. It plays out as an enemies-to-friendship narrative with an unspoken romantic desire between the two. Most notably, Tyler’s personality at first appears disingenuous and arrogant—he seems to be just another heartbreaker in need of fixing.
Yet, as the film progresses, the audience comes to realize that his intentions are far more wholesome and honest—a refreshing aspect.
This allows the audience to focus on Kate and her growth out of the grief, anxiety and regret she feels after that tragic day in Oklahoma. She’s imperfect but develops out of her discomfort.
In re-orienting the tragic background of the film’s main character, “Twisters” successfully achieves a type of heroism that doesn’t overwhelm the trending feminist approach many franchises have recently adopted and failed to do well.
Edgar-Jones plays Kate in a witty yet simultaneously solemn demeanor, allowing the audience to see the repercussions of her past and desire to keep others safe. She guards herself well, not permitting her actions to reveal that she’s fallen for Powell’s character until the end of the film.
“Twisters” introduces its own new characteristics as Kate slowly gathers the courage—and help from Tyler—to fix her product that initially failed to destabilize its first tornado.
Naturally, by the end of the movie, it is Kate’s project and bravery that saves an Oklahoma town from obliteration.
Some critics find the dialogue and acting cliche and awkward at various points of the film. They also feel that there is a lack of depth to some of the characters. Yet despite that, the film overall owns up to its Hollywood name.
Twister’s is not meant to be a “philosophical” film to be undressed by reviewers; its purpose is to be a wild, entertaining journey for general audience members to soak in and ultimately walk away from.
“Twisters” dons a well-fleshed plot, ridden with classic scenes of destruction from tornadoes. Director Lee Isaac Chung doesn’t skip a beat in ensuring that audiences witness a tornado larger than life itself, not to mention a fire tornado that resembles a pillar of fire.
It’s a classy move—one that contributes to the feel of a blockbuster movie, owning its theatrical hype and celebrity name. Yet, the film is also not too scared to venture outside the box, but only just enough.
Humor is introduced into aspects of the film but thankfully avoids the “Marvel” humor algorithm so many franchises have attempted as of recently. Amidst the hilly-billy attitudes of Tyler’s gang and the awkward British journalist following their adventures, a ray of laughter balances the film’s thematic concoction.
Alongside the humor, Chung isn’t afraid to own the country themes of the storyline, with songs from artists such as Luke Combs and Miranda Lambert ripping through the Oklahoma fields alongside the characters. Even country-haters have to admit that the songs are enjoyable outside of the film.
Overall, the film achieves decent reviews on Rotten Tomatoes film critic Tomatometer, reigning in at 75% “Fresh.” However, the audience’s Popcornmeter tops out at 91%, demonstrating the film’s likely primary intention to please its fans and bring a thrilling story to life.
