‘Twisters’ is Mostly Hot Air

“Twisters” blows audiences away with high-flying action and a grounded cast of tornado-chasing characters.

Directed by Lee Isaac Chung, “Twisters” is a standalone sequel to the 1996 hit, “Twister.” Reimagining the disaster-flick 28 years later, “Twisters” employs modern technology while retaining its cowboy feel.

After a weather experiment gone wrong, meteorologist Kate Cooper is pulled into the world of storm-chasing by her old friend, Javi. Testing new technology to track tornado paths, Kate relives a traumatic past while aiding Javi’s altruistic venture.

Traversing across Oklahoman fields, the duo comes across a rowdy band of fame-hungry tornado chasers. Led by the charismatic Tyler Owens, the thrill-seeking caravan disturbs the scientific outing by fighting to reach the storms first.

From a background in independent dramas, Chung (“Minari,” “I Have Seen My Last Born”) steps up to the plate as a blockbuster filmmaker. The film’s best moments lay in each storm’s enormity and the carnage wrought in their wake.

Despite his experience in character-drama, Chung struggles to convey the humanity of his cast. “Twisters” too often relies on cliches and expository dialogue. With half the film following the quieter moments between storms, science jibber-jabber and hamfisted lines detract from both the spectacle and engaging performances.

The bare-bones script of “Twisters” is its biggest strength — and weakness. A film regarding disastrous tornadoes chased around the Southwest is an engaging premise, but doesn’t lend to easy plotting.

Daisy Edgar-Jones as Kate does her best with the surface-level story. Conveying easy charm and believable grief, Edgar-Jones (“Normal People,” “Under the Banner of Heaven”) gives a basic lead performance for a spectacle-driven film. Like Chung, “Twisters” feels like a disservice to Edgar-Jones’ talent, only giving her the briefest sequences to stand out. 

In comparison, Glen Powell as Tyler fits right at home with the film’s simplicity. Sporting a roughneck attire and attitude, Powell (“Anyone But You,” “Hit Man”) blends perfectly into “Twisters” as an amiable scene-stealer. Given the most nuanced dialogue of the film, Powell breezes between a sarcastic demeanor and an earnest performance.

The two find common ground over a shared love for meteorology and a desire to help others. Edgar-Jones and Powell’s interplay is the highlight of “Twisters” that endears more than the movie’s namesake display.

The namesake twisters rivet with sound design and impressive direction. It disappoints then, that the headline attractions are shown so few and far between. The most impressive whirlwinds do leave a lasting impact, but many are undone by the film’s choice of soundtrack.

Sporting 29 songs by country-pop hitmakers like Luke Combs, Lainey Wilson and Thomas Rett, “Twisters” over relies on its music to the detriment of its thrills. Too often during otherwise heartwarming character beats and death-defying sequences, “Twisters” undercuts its emotional and thrilling tension with bland top 40 ballads. 

Fans of modern country may enjoy the music, either on its own or in their placement with the film. However, it’s hard to deny the overdependence as anything other than transparent, traditionalist pandering rather than an honest embracement of the genre.

“Twisters” is a disaster-thriller that snuffs out its twists and thrills. The film’s drama touches down to the surface level and sequences of excitement are spaced so far apart, they don’t have air to breathe.

The aspects where the blockbuster impresses lay flatly in the eye of its premise and stars. Egar-Jones and Powell chasing down tornadoes is the wonderfully compelling center of “Twisters.”

Everything else is empty wind.

“Twisters” is in theaters now.

Featured image courtesy of Universal Pictures.