Dating back to the momentous release of Steven Spielberg’s “Jaws” in 1975, the summer blockbuster has become a staple of the cinema rollout. Equal parts spectacle and heart, these crowd-pleasing movies promise accessibility for all ages. The 1996 film “Twister,” which became the second highest-grossing movie of the year, is, in every sense of the word, a quintessential summer blockbuster. Though maybe no one’s first choice for a second installment, the franchise returns for a standalone sequel.
“Twisters” might contain the same tired cliches and cheesy dialogue of the original, but its charming leads and unrelenting action sequences curate a tornado of thrills and heart — a rare win for the disaster genre.
Amid a generationally intense storm season in central Oklahoma, former storm chaser Kate Carter (Daisy Edgar-Jones) collides with reckless influencer Tyler Owens (Glen Powell) and his rag-tag crew, hoping to survive, study and subdue the massive damage caused by a slew of converging tornado systems. Haunted by a tragic event that took the lives of her former team, Carter must decide where her loyalties lie.
The opening sequence is punishing, evolving from happy-go-lucky optimism to uncontrollable dread and uncertainty. The rushing gusts of debris and torrential rain beat down on Carter and friends, and the film’s stakes are immediately realized. Given the film’s rather niche scientific premise, there’s a layer of weather-related jargon and exposition to trudge through. To fully enjoy this movie, you have to commit to the bit that this heavily dramatized version of storm control is plausible whatsoever. It’s utterly ridiculous but entirely without shame.
The narrative itself is run-of-the-mill, including its takedown of corporations putting development and profit over humanity, which is hardly explored and only finds the surface halfway through. At first glance, I figured “Twisters” offered a critique on influencer culture, where content creators thrust themselves into places of authority and influence, only to be exposed by true professionals. That angle quickly dissipates as Owens reveals his healthy mix of showmanship and expertise.
Speaking of Owens, Powell is electric, harnessing enough charisma in one smirk to melt the theater. He possesses the inexplicable ability to achieve robust chemistry with each of his co-stars, especially Edgar-Jones. The film hits its stride when it’s just Powell and Edgar-Jones on screen, and their dynamic carries “Twisters” to the finish line.
Edgar-Jones plays Carter well, adequately shifting her demeanor throughout. She begins as a chipper young scientist, stopping at nothing to achieve her goal, and quickly becomes hardened, fearing her actions will cost more lives. Her arc is wonderfully executed, culminating in a heroic, full-circle grand finale. Without such an outstanding duo at the forefront, “Twisters” wouldn’t be nearly as watchable.
The action sequences are fast, loud and chaotic, if a bit repetitive. I was thoroughly impressed by the visual effects, containing very few, if any, subpar frames. While I enjoyed the many vehicle-led thrills, I preferred moments outside the car, forcing our characters to interact with the environment to escape certain doom.
The side characters are mostly fun but hardly memorable. The dialogue can sometimes hamper the flow, but it’s never too distracting, considering its self-awareness. While I found the score to be serviceable, the soundtrack is a different story; some needle drops here had my eyes in the back of my head.
Still, “Twisters” is consistently entertaining, with Edgar-Jones and Powell’s magnetic dynamic spearheading its campy summer blockbuster personality.