I have a theory as to why the special effects of ‘90s blockbusters tend to hold up in 2024, and furthermore, why they quite frequently look even better than their contemporary counterparts. It’s about the availability of excess. Take, for example, the original Jurassic Park. Next time you watch the original film take note of how many dinosaurs are only partially visible. Take note of how the creative camerawork and inventive blocking hides the fact that you’re looking at an animatronic that only exists from the torso up. Full body shots of dinosaurs are few and far between compared to what we see in Jurassic World. This is because what Spielberg was working with, despite his access to the best technology on the planet, was relatively limited. Nowadays, it’s pretty easy to generate the most insane dino action sequence you’ve ever seen, but without any limitations, it carries little weight. Since we can show everything, we do. It becomes seamless. Too seamless. And what filmmakers are (hopefully) starting to recognize is that true artistry exists in those seams.
Filmmaking is supposed to trick us into thinking we’re seeing the impossible. It’s called movie magic for a reason. Now, no love should be lost to the incredible artists who create these astonishing digital images. What they do is remarkable. But the application of their work feels a lot like if we were to find out that David Copperfield was actually a real wizard, and not just a prestidigitator. Magic is boring. I want you to lie to me.
It’s from this angle that Twisters, the rollicking sequel to the ‘90s blockbuster, pales in comparison to its predecessor. Sure, the tornadoes are huge and the effects are stellar, but since it’s all a bunch of ones and zeros, the scenes of destruction feel intangible relative to Jan de Bont’s disaster classic. There are no miniatures here, no hidden seams, and very few moments that actually evoke awe in the viewer. Yet these issues almost feel like garden variety foibles in a film landscape replete with fully digital sequences, and luckily for us, director Lee Isaac Chung is able to let these sequences kick ass in their own right, while breaking them up with a high-energy, humorous, and character-forward adventure flick.
Once you make peace with the fact that this is just how movies look now, you’re in for a very good time.
Daisy Edgar-Jones plays Kate Carter, a former storm chaser who switched to pushing paper after an experimental attempt at stopping a tornado ended in tragedy. She’s been called back into action by a former colleague (Anthony Ramos) to assist in tracking storms and developing new storm tracking tech funded by a rich donor.
Storm chasing culture has changed a bit since she left the scene, making way for a celebrity storm chaser to emerge. His name is Tyler Owens (Glen Powell), and he’s a thrill-seeking, cowboy hat-wearin’ son-of-a-gun who rocks out to country music and does things a little different than the other storm chasers (he drives into tornadoes and then shoots off fireworks for YouTube views. He also sells merch).
Naturally there’s a clash here, and it’s essentially the opposite of what occurs in the original film. Kate is on the well-funded stuffy science team, while Tyler leads the rough and tumble gang of rock n’ rollers who are more likely to use duct tape and intuition than they are to tuck in their shirts and watch a radar screen. The bad guys are pretty much the Bill Paxton/Helen Hunt team this time around.
Or are they?
The script by Mark L. Smith and Joseph Kosinski has a lot of fun both aping and subverting the formula of the original film, while working very hard to keep this entry in a vacuum. Short of the use of a DOROTHY machine, there are no connective threads. Similar to Twister, this entry doesn’t do very well by its supporting cast, giving them more of a group identity than individual ones, which stings doubly when you recognize how strong the cast is (David Corenswet, Brandon Perea, Sasha Lane, Katy O’Brian, Tunde Adebimpe!), but that’s par for the course, I guess.
Chung proves to be a fantastic choice to direct, owing largely to his familiarity with the setting. He’s from Arkansas, and if you’ve seen his masterful Minari, you know how well he is able to capture the feel of the American heartland; how he’s able to take a simple shot of a rolling plain and turn it into high art. Through his lens, the vastness of the setting is felt, which helps add to the scope of the disaster sequences. A strong edit also gives them room to breathe, helping to mitigate the issues I mentioned at the top of this review. One image in particular, in which our hero is able to predict a tornado’s movement by the way the wind shifts over a verdant field is astonishing.
Our trio of leads all do great work, with Ramos providing the film’s heart, despite being given comparatively little to do. Edgar-Jones carries the film with a unique charisma. She’s an easy hero to root for, but she’s not just the good guy. There’s a mysteriousness behind her eyes that is maximized through Kate’s journey.
But we all know who you’re here to see. The man of the hour, the guy who is having a better 2024 than the rest of us: Glen Powell. His status has been skyrocketing for the past few months, and with Twisters his superstar status has been achieved. He’s a ton of fun here, and he gives Tyler much more depth than is required. When he’s onscreen you won’t be able to look away, and anytime he’s not in the movie, you’ll find yourself wondering when he’ll be back. He’s got the goods, that young handsome sonofabtich.
Sorry, I couldn’t help but to be old for a second.
By the time the film reaches its final act, we care about our leads so much that the carnage finally finds the dramatic energy it previously lacked, leading to a killer finale that, like the blockbusters of the ‘90s, reminds us of why we go to the theater (even literally — a large portion of the finale takes place in a movie theater). It’s big, loud, crowd pleasing fun, here to kick your ass while you cram popcorn down your throat. Twisters will never top Twister, but it’s an excellent sequel that taps into nostalgia without being enslaved by it.
Directed by Lee Isaac Chung
Written by Mark L. Smith, Joseph Kosinski, Michael Crichton, Anne-Marie Martin
Starring Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Maura Tierney
Rated PG-13, 122 minutes
