‘Twisters’ Is a Decent But Underwhelming Summer Blockbuster

‘Twisters’ Is a Decent But Underwhelming Summer Blockbuster

By Alex McPherson

With chaotically fun set pieces and an enjoyable performance from Glen Powell, director Lee Isaac Chung’s “Twisters” seemingly checks off all the boxes for a summer blockbuster treat, but it doesn’t surpass the 1996 original.

Set in the same universe of Jan de Bont’s “Twister,” but featuring a different set of characters filling in similar archetypes as before, Chung’s film begins with a flashback showing a bright-eyed group of Oklahoma college students — led by Kate Cooper (Daisy Edgar-Jones) — storm-chasing with the ultimate goal of “taming” a tornado.

In a surprisingly dark turn of events, Kate and her squad misjudge the type of tornado they’re dealing with (it’s an F5, not an F1), and tragedy ensues. The twister claims the lives of three of the group, including Kate’s boyfriend, Jeb (Daryl McCormick), with only Kate and tech wiz Javi (Anthony Ramos) managing to survive the ordeal. Both Kate and Javi are mentally scarred, and Kate, wracked with guilt, vows to leave her storm-chasing behind.

Five years later, Kate works as a meteorologist in Manhattan, going about her days deflated and depressed. That is, until Javi shows up, urging her to join his team of scientists researching tornadoes in Oklahoma. Javi works for Storm Par, a mobile radar company that may or may not have shady motives beneath their “for the greater good” appearance.

He offers Kate a short-term position on the team. She reluctantly accepts, recognizing that extreme weather events are becoming increasingly common — but neither Kate nor any other character mentions climate change outright. Thus, she’s back in the field, tagging along with some straight-laced scientists (one played by future “Superman” actor David Corenswet) hunting down the weather phenomena that’s both her passion and trauma manifested. 

Also on-the-scene is professional “Tornado Wrangler” and YouTuber Tyler (Powell), a rambunctious chap running into danger for “views,” with country music blasting nonstop. He’s joined by a band of tech-savvy nerds played by Sasha Lane, Katy O’Brien, and Tunde Adebimpe, among others, including Harry Hadden-Paton as a clumsy British journalist whose main purpose is comedic relief and not much else.

As both parties compete to reach the tornadoes first, Kate and Tyler develop an inevitable will-they-won’t-they romance. Both must confront their pasts, doubts, and motivations as they seek to make a difference in the world, and in each other’s lives, as they spout quippy dialogue and survive catastrophic incidents thanks to their plot armor.

Indeed, “Twisters,” like “Twister” before it, isn’t trying to be high art. But Chung, who directed 2020’s masterful “Minari,” still tries to inject pathos and stakes into the proceedings, tackling themes of trauma, rebirth, and corporate corruption amid the cheesiness and CGI-laden sequences of carnage. 

It’s a tonal mishmash that doesn’t quite work in Chung’s favor. “Twisters” lacks the commitment to make any meaningful statements on the topics it brings up — which, notably and puzzlingly, does not include climate change — and awkwardly sandwiches sincere attempts at poignancy between the more cartoonish and “thrilling” moments we expect. 

This is made all the more frustrating by the fact that Chung and screenwriter Mark L. Smith prove that they’re willing to address serious, albeit formulaic, ideas about managing trauma and capitalism’s nasty influence on morals. It turns out that the most important and obvious topic of all for this story — climate change — is too controversial for them. 

To make matters worse, “Twisters” ultimately embraces the idea of “conquering” nature more than understanding it, further reducing its premise to popcorn fluff that, by actively resisting taking a stand on much of anything beyond convention, is frustratingly, distractingly out-of-touch with our current moment.

That’s not to say all is lost, though. There’s still individual moments in “Twisters” that pop, and Powell’s star power is more than enough to make the film entertaining on its own lesser merits. 

Powell gives the film much-needed bursts of energy whenever he’s on screen, portraying a raucous individual who disguises his intelligence behind a rowdy, boyish veneer. With his well-sculpted physique and easy charisma, Powell steals the spotlight from Edgar-Jones who, to the film’s credit, portrays a strong, determined character in her own right, albeit one who seems to be in a completely different film from Tyler at certain points.

Kate is far less engaging to watch than Tyler, being saddled with a tragic backstory and comparatively bland personality. Edgar-Jones’ performance lacks impact as a result. The rest of the ensemble is uneven, with Ramos not quite being able to deliver Javi’s heavy-handed dialogue convincingly, and others are barely given enough time to register as fully-formed characters.

“Twisters” fares better in terms of pure production value, however. Cinematographer Dan Mindel artfully frames the Oklahoma prairies, even though there’s less dynamism to the camerawork here than de Bont’s previous effort.

Chung stages sequences of destruction effectively, especially in the opening minutes. He seems to take some glee in showing cars, buildings, and (usually unnamed) people being sucked up into their orbits. It’s loud, scary, and thrilling, for a while, but becomes repetitive as the film goes along.

When the storm has passed, “Twisters” is a decent-to-good experience, held back by its inconsistent tone. But what’s here suffices if we can turn off our brains and let deeper thought be swept away in the wind of mainstream entertainment.

“Twisters” is a 2024 action-adventure directed by Lee Isaac Chung and starring Glen Powell, Daisy Edgar-Jones, Anthony Ramos, Maura Tierney, David Corenswet, Brandon Perea, Sasha Lane, Tunde Adebimpe, Katy O’Brian and Harry Hadon-Patton. It is rated PG-13 for intense action and peril, some language and injury images, and run time is 2 hours and 2 minutes. It opened in theatres July 19. Alex’s Grade: B-.

Kinetic Go-Big Spectacle ‘Twisters’ Is Familiar, But Less Fresh Than Original

Kinetic Go-Big Spectacle ‘Twisters’ Is Familiar, But Less Fresh Than Original

By Lynn Venhaus

The manufactured mayhem of “Twisters” may check off all the boxes for an entertaining summer blockbuster, but its unremarkable storyline neutralizes the visually stunning weather-induced shock and awe.

While the film showcases state-of-the-art modern technology, both in digital effects and severe weather tracking tools, this retread doesn’t feel new or fresh, but rather repetitive in its brutal storm depictions.

After all, dealing with dangerous weather patterns has become a routine part of real life in the Midwest in the 21st century. Case in point: our current summer.

So, what distinguishes this from a Weather Channel special report? This second go-round, loosely based on the 1996 disaster epic “Twister,” is super-sized in fury and look, and the mostly rural setting feels like a theme park meets “The Amazing Race,” stoking frantic chase scenes on a grander scale.

Daisy Edgar-Jones plays Kate Cooper, a retired tornado-chaser and brainiac meteorologist who is persuaded to return to Oklahoma to work with a new team and new technologies during a once-in-a-generational series of terrifying storm systems. She encounters swaggering social-media star Tyler Owens (Glen Powell) heading a team of hotshots. Will sparks fly or fizzle, and will they save anyone but themselves?

Debris flies, and people are flung like the Wicked Witch of the East. The visual effects and stunt work are impeccable, and a collapsing water tower, explosions at a massive oil refinery, and destruction of a movie theater exemplify the ‘go-big’ playbook.

The alarming sudden onset of extreme weather is emphasized in multiple scenes, such as a carnival atmosphere turning deadly with little warning. Interestingly though, the phrase “climate change” is never uttered but looms large in our minds.

Simply stated, no, this ‘sequel’ is not as good as the 1996 original, which endeared itself to countless millennials for its ground-breaking digital effects (a flying cow!) and its revered lightning-rod cast of Bill Paxton, Helen Hunt, Cary Elwes, Philip Seymour Hoffman, Lois Smith, Jamie Gertz, Alan Ruck and other familiar ‘90s faces at a far more cinematically adventurous time.

In retrospect, the first one wasn’t anything more than a popcorn-type thrill ride, and cheesy at that, but there remains great affection for this ragtag group of adrenaline junkies because they were a fun bunch to watch – and were doing something different. Adding to the poignancy is that beloved Paxton and Hoffman are no longer alive.

The twist? The monster wasn’t a colossus like a T. Rex or Godzilla, but Mother Nature – and just as scary.

The original’s daredevil director was Jan de Bont, fresh from making the riveting action film “Speed” in 1994. Its tech-talk-rekindles-romantic-sparks screenplay was written by Michael Crichton and his then-wife Anne-Marie Martin. He was on a roll after his “Jurassic Park” novel was adapted by Steven Spielberg in 1993. (Spielberg is executive producer of both “Twister” and “Twisters,” by the way.)

While one can wonder why a sequel pops up 28 years later, this “Twisters” is similar because characters are based on fired-up storm chasers and Oklahoma is again the Tornado Alley center of dangerous activity. Oh, an apparatus named Dorothy is in both.

This time, the project is helmed by Lee Isaac Chung, a surprising choice after his 2020 gentle, intimate semi-autobiographical film “Minari,” but he does know how to tug heartstrings. He competently handles the powerful dustups on the Plains and the propulsive action but is saddled with a formulaic script.

After scoring big with the epic “The Revenant” screenplay, Mark L. Smith penned the George Clooney duds “The Boys on the Boat” and “The Midnight Sky.” He is unsurprising here, both in action and interpersonal relationships, from a story by Joseph Kosinski, director of “Top Gun: Maverick.”

(I mean, really, a skittish fish-out-of-water British journalist tagging along with a crew of quirky influencers? That’s a tired character.)

Wisely, though, the lead role is a whip-smart female scientist, who is introduced as a bright-eyed college student brimming with brilliant ideas, an uncanny knack at sizing up impending storm shifts, and a fearless save-the-world bravado. Yay for STEM girls!

The film’s best scene is a harrowing account of her spirited team’s encounter with an F5 tornado that she misread as an F1 earlier as they tried out her theory on dissipating its strength. That tragic result set the tone for the obstacles ahead.

Her life’s plans altered, it’s five years later, and she is a meteorologist- analyst for the National Weather Service in New York City, sad-eyed and deflated.

Old friend and fellow guilt-ridden survivor Javi (Anthony Ramos) pleads with her to join his corporate-funded team back home. It’s the height of a troubling storm season, and he’s trying to implement new radar hardware he devised.

With some trepidation and heavy emotional baggage, Kate returns, although she can’t forecast that this time she’ll renew her life’s purpose. You do root for her success.

Edgar-Jones, an appealing actress best known for “Where the Crawdads Sing,” and BAFTA-nominated for the TV show “Normal People” opposite Paul Mescal, shows off spunk and verve with a very obnoxious guy getting under her skin and in her way. That would be newly anointed heartthrob Powell.

Spoiler alert: They’ve met their match, but they don’t know it yet.

Charming It-guy Powell knows his lane, and fits the modern image of a smiling happy-go-lucky movie star. He doesn’t stray from the formula that got him to headline status. Cowboy scientist? Sure, why not? Throw in rodeo background and computer skills.

He is at his most annoying early on as a You Tube sensation, showboating as a “Tornado Wrangler” and leading a motley crew of fame-obsessed whooping and hollering trackers.

The real serious scientists ‘tsk-tsk’ the reckless hobbyists, and the city girl vs. the celebrity clown showdown is on, with lots of zingers being fired.

Turns out he isn’t what he appears to be, and neither is anyone else – although you might feel deja vu. Future “Superman” David Corenswet looks like a no-nonsense guy as Javi’s wingman Scott — and a lot like Elwes’ Dr. Jonas Miller. Brandon Perea is trying to be kookier as the videographer Boone than Hoffman’s Dusty. As Kate’s mom Cathy, Maura Tierney assumes the Aunt Meg role played by Smith.

As the competition intensifies between the groups, battle lines become blurred as the focus shifts to helping devastated victims. Sasha Lane is a kind drone operator, Lily. Katy O’Brian and Tunde Adebimpe are part of hotdoggers’ squad.

Powell’s cockiness conveniently melts away as a more compassionate do-gooder emerges. At this point, is anybody paying attention to the science theories or personal motives as trucks bearing heavy equipment speed through country roads while a who’s who of country music blares above the sirens?

Impressive artisans excel on an enormous canvas – cinematographer Dan Mischel, whose credits include the Star Wars’ reboots “The Force Awakens” and “The Rise of Skywalker,” editor Terilyn A. Shropshire, production designer Patrick M. Sullivan Jr. and composer Benjamin Wallfisch.

Noteworthy is a cameo by James Paxton, the late Bill Paxton’s son. His father will be forever remembered as TV weatherman Bill Harding and he plays an aggravated customer complaining just before cyclone chaos is about to erupt.

Early work by Daryl McCormack as Kate’s boyfriend Jeb, and Kiernan Shipka and Nik Dodani as pals Addy and Praveen is also memorable.

A special shout-out to Waterloo, Ill.’s own Alexandra Kay, a country singer who is featured on the Jelly Roll song “Leave the Light On,” which is a part of the soundtrack including such heavy hitters as Lainey Wilson, Zach Bryan, Luke Combs and others.

“Twisters” will satisfy audiences who want to be swept away like retro summer blockbusters once achieved, without the pesky environmental messages and science lessons. However, those looking for more than imitation, with some discernible gumption, will have to be content with a pleasant-enough engaging cast and fear-inducing stormy weather.

“Twisters” is a 2024 action-adventure directed by Lee Isaac Chung and starring Glen Powell, Daisy Edgar-Jones, Anthony Ramos, Maura Tierney, David Corenswet, Brandon Perea, Sasha Lane, Tunde Adebimpe, Katy O’Brian and Harry Hadon-Patton. It is rated PG-13 for intense action and peril, some language and injury images, and run time is 2 hours and 2 minutes. It opened in theatres July 19. Lynn’s Grade: C+

‘How to Blow Up a Pipeline’ A Gripping Yet Frustrating Climate Thriller

‘How to Blow Up a Pipeline’ A Gripping Yet Frustrating Climate Thriller

“How to Blow Up a Pipeline” Movie Review — A Gripping Yet Frustrating Climate Change Thriller

An urgent call to action, director Daniel Goldhaber’s “How to Blow Up a Pipeline” is riveting, nail-biting, and heavily streamlined — impossible to look away from but not taking full advantage of its narrative potential.

Inspired by the 2021 nonfiction book of the same name by Andreas Malm — an eco-manifesto arguing for sabotage as a form of climate activism and critiquing pacifist protest — Goldhaber’s film presents a fictionalized dramatization of Malm’s thesis. In the film, a group of rebellious, righteous, mostly Gen-Z characters from across the U.S. attempt to blow up an oil pipeline in West Texas. 

Each of them is personally affected by climate change and the oil industry. Xochitl (Ariela Barer), the de facto leader of the group, is mourning her mother who died during a heat wave. Theo (Sasha Lane) suffers from a rare form of leukemia caused by environmental pollution. She’s joined by her girlfriend, Alisha (Jayme Lawson), who’s committed to the cause and supportive of Theo’s ideals, yet fearful of the repercussions.

There’s Shawn (Marcus Scribner), a filmmaker’s assistant wanting to make a tangible impact on the world; the severe Michael (Forrest Goodluck), an amateur bomb maker enraged that his home in North Dakota has been taken over by oil workers; and Dwayne (Jake Weary), a Texas local whose land has been encroached on by the pipeline. They’re joined by the grungy couple Rowan (Kristine Froseth) and Logan (Lukas Gage), unruly souls wanting to fight the system and take plenty of drugs along the way.

With a tight, 99-minute runtime, Goldhaber and co. never let the film’s stranglehold grip subside, keeping suspense dialed up to 11 throughout. Complemented by lived-in performances, immersive cinematography, a no-frills structure, and Gavin Brivik’s panic-inducing score, “Pipeline” raises important questions about a real threat against humanity and what can be done to combat it. Goldhaber’s film, however, functions better as a set of ideas (vividly brought to life) than a traditional narrative. Simplified characterizations and a rushed dénoument hold it back from digging into its topics on a deeper level. 

Despite its limitations, “Pipeline” is marvelously watchable: presented with fly-on-the-wall immediacy that consistently presents new hurdles for the team to overcome. Cinematographer Tehillah De Castro uses swirling long takes, ‘70’s-esque zooms, and intense close-ups, captured in 16 mm, to convey ratcheting stress amid stinging sand and dripping sweat. Shots positioning characters against backdrops of oil refineries (reminiscent of fire-spewing beasts) are particularly evocative.

Combined with Brivik’s whirring, electronic-infused score, stellar sound design amplifying elements including each “click” of Michael’s bomb-making materials, the hair-raising thud of an improvised explosive being lugged into position, or a rope beginning to fray, “Pipeline” is rarely less than intense. Each sequence is presented with a grounded, lower-budget style that doesn’t feel overly sensationalized or polished, in keeping with the characters’ guerilla tactics. 

The film’s structure is similarly stripped-down, with both benefits and drawbacks. Goldhaber and co. break up the action — often right before or after moments of peril — to provide one-or-two-scene backgrounds to each person, occasionally revealing (somewhat contrived) plot twists. Although this approach maintains momentum, it sets up cliff-hanger scenarios frustratingly interrupted by backstory, prompting a manipulative cycle of anticipation and release as we’re abruptly zapped back-and-forth in time at pivotal junctions. 

This structural “efficiency” also creates emotional distance. Indeed, “Pipeline” tries to check a wide swath of motivational boxes with its characters — they are symbols rather than three-dimensional human beings. They’re painted in broad strokes, packaged with heavy-handed dialogue lacking textured insight. 

Unlike other “heist” films, there are no experts to be found here, only passionate, somewhat impulsive people eager to take direct action against an issue that threatens their future, regardless of consequences. It’s a shame, then, that “Pipeline” doesn’t treat them with the depth they deserve, especially Shawn, who isn’t as overtly impacted by the oil industry, but feels a need to act anyway. His perspective and arc, given less obvious motivation than Xochitl or Theo, is comparably surface level.

The ensemble is ever-watchable as they nonverbally manifest inner drives and mounting nervousness — Goodluck and Weary stand out with their reserved roles; Michael and Dwayne simmer with pent-up rage — but in attempting to remain a piece of propulsive entertainment, the film isn’t really focused on who they are as people, or what the aftermath of their decisions entails. “Pipeline” centers the titular act itself over the people involved — sparking a conversation about what tactics are “ethical” to confront existential issues when people in power refuse to act, but simultaneously shrouding its actors behind an ideological curtain.

It’s saying a lot that, despite all these issues, “Pipeline” remains an absorbing watch. Goldhaber is a talented director with a clear point of view and formal skill, albeit one grasping, and falling short, of achieving a more radical, involving story for our times.

“How to Blow Up a Pipeline” is a 2022 drama-crime-thriller directed by Daniel Goldhaber and starring Forrest Goodluck, Jake Weary, Ariela Barer, Jayme Lawson and Sasha Lane. It is rated R for language throughout and some drug use and the runtime is 1 hour and 43 minutes. The movie opens in theaters April 14. Alex’s Rating: B.