Twisters offers a thrilling new take on disaster cinema with its intense storm-chasing scenes. It’s not surprising that Lee Issac Chung’s Twisters shares a significant connection with Joseph Kosinski’s Top Gun: Maverick. Not only does it feature Glen Powell, who steps into a leading role rather than serving as the supporting foil to Miles Teller as he did in Maverick, but Kosinski also has a “story by” credit due to his initial involvement with the production before he left to focus on Apple’s Formula One movie. This film acts as a sort of legacyquel, where a new wave of tech-savvy storm chasers attempts to master nature’s most dramatic weather phenomenon—the tornado. The film Twisters dives into the world of extreme weather, focusing on tornadoes that wreak havoc on communities.
The tornado, which famously whisked away Dorothy Gale and her dog, has become less prominent in mainstream cinema over the years, much like the disaster genre itself. While there have been attempts to revive it (such as Into the Storm) and numerous city-centered disaster movies (like San Andreas), Hollywood seems to neglect events that occur outside major coastal cities.
There’s a noticeable absence in American cinema between cities like Pittsburgh and Chicago and the entertainment mecca of Las Vegas, with occasional nods to Texas as a setting for blockbusters. This isn’t a plea for a dramatic influx of disaster films set in rural areas, though Lionsgate might be eager to explore that idea. Instead, it suggests that there are compelling stories to be told beyond the major urban centers, and audiences might flock to see them, similar to their reception of Maverick. Critics have praised Twisters for its impressive special effects and realistic portrayal of tornadoes.
At first glance, Chung might seem like an unusual choice to take over from Jan de Bont as director. His background, until 2023, was primarily in the arthouse sphere. Few debut filmmakers have their work featured in the main competition at Cannes, but Chung managed that with his film Munyurangabo, which was the first international film in Kinyarwanda to gain acclaim and distribution. After a period away from cinema and nearly retiring, Chung returned with Minari in 2020, a semi-autobiographical film about a Korean immigrant family starting a farm in Arkansas.
Although Minari was not an audition for Twisters, its deeply personal storytelling showcased Chung’s ability to craft narratives set in Tornado Alley without patronizing the audience. His action experience came later, following Minari’s success at the Academy Awards and work on The Mandalorian with Lucasfilm. His meticulous portrayal of the countryside’s beauty prepared him well for this project. Unlike typical disaster films that pit urban and rural perspectives against each other, Twisters avoids such clichés.
The film predominantly focuses on a group of Oklahomans working to support or protect their communities from increasingly severe storms and destructive weather. The only genuinely morally ambiguous character is David Corenswet, who will play Superman next year, and his role is so minor that it’s nearly invisible. Our protagonist, Kate (played by Daisy Edgar-Jones), hails from a dairy farm and grew up with her mother (Maura Tierney), who had a lifelong fascination with extreme weather. In Twisters, the main characters are storm chasers who confront increasingly violent tornadoes in their quest to understand and predict these natural phenomena.
Although this fascination was initially portrayed with a sense of wonder akin to young Helen Hunt’s experience in the original film, it turns tragic when Kate and her storm-chasing team encounter a tornado that escalates from F1 to F5. This disaster kills her team, including her boyfriend and fellow chaser Sally Draper, leaving Kate as the sole survivor. The lack of childlike wonder in this depiction, compared to Spielberg’s portrayal of similar events, diminishes its impact. Kate’s fascination with weather is more of an expository detail than a source of inspiration. The plot of Twisters centers around a team of scientists and thrill-seekers battling severe weather conditions.
The first act struggles with tonal shifts as it progresses to a later stage where Kate works at NOAA in NYC, deeply affected by her past trauma. When Javi (Anthony Ramos), now running a new data-gathering company in Oklahoma, seeks her expertise, she initially declines. However, the prospect of making a tangible difference sways her, and she agrees to join him in a region experiencing unusual tornado activity. Upon arrival, Kate senses something amiss—this is no longer the carefree storm-chasing adventure she once knew. Twisters has been compared to other classic disaster films due to its high-stakes action and dramatic tension.
The team’s corporate funding and uniform appearance, including Orkin-like attire, contrast sharply with the informal nature of storm-chasing. Kate is also wary of YouTubers like Charlie (Powell) who appear to exploit disaster for views. Charlie’s flashy persona and merchandise sales suggest he might be more interested in self-promotion than genuine storm tracking. The character development in Twisters is enhanced by the personal stakes of the storm chasers who risk everything to study tornadoes.
As Powell and his crew enter the scene, playing country music from their trucks and performing stunts, the film starts to gain momentum. Powell and Edgar-Jones bring a dynamic chemistry to their roles, with Powell’s character revealing a more nuanced personality beneath his confident facade. His team’s efforts include providing aid to disaster victims, and Powell’s enthusiastic approach is a means to raise awareness about extreme weather. His portrayal is compelling, establishing him as a true successor to Tom Cruise’s action hero legacy. Edgar-Jones matches his energy, though Powell’s charisma often overshadows her performance. The dynamic between them is less about comedic duos and more about personal growth and partnership.
The latter part of Twisters truly engages with intense action sequences, such as a tornado striking a rodeo and a climactic fire tornado at a refinery. Chung skillfully captures the terrifying beauty of these storms, making them both visually and acoustically impactful. The film’s humanistic approach to disaster scenarios, focusing on characters’ efforts to save lives, provides a refreshing contrast to typical disaster movie tropes.
Reviving Disaster Cinema: How Twisters Channels the Spirit of Top Gun: Maverick
The third act’s fantastical elements, including a dramatic scene set in a local theater where townsfolk seek shelter, might seem improbable but offer a wish-fulfillment narrative for those familiar with such disasters. The film’s broad appeal extends to various audiences, addressing climate change concerns for some and disaster capitalism critiques for others, while maintaining a high level of entertainment. It delivers a fun and engaging experience.
Conclusion
In summary, Chung adopts a broad approach to American cinema, similar to Maverick‘s success in 2022, suggesting that this film has both domestic and international appeal. This isn’t a call for all Hollywood films to follow this model, but rather an acknowledgment that American audiences will find regional stories relatable while global viewers will appreciate the entertainment value. Twisters successfully combines elements of suspense and adventure, drawing viewers into the chaos of nature’s most destructive force.
Unlike past practices of filming region-specific content for international markets, Twisters demonstrates that a locally grounded story can resonate worldwide, reminiscent of the old Hollywood approach where strong domestic films drew international interest. The film’s successful opening weekend underscores the enduring appeal of well-crafted local stories, proving that, as in the past, audiences worldwide will come if the story is compelling and well-executed.