'Twisters' weathers clichés, delivers fun blockbuster

It's no secret that movie theaters have struggled in the wake of the COVID-19 pandemic. Theater chains worldwide are shutting down as movie studios prioritize streaming content and sequels dominate theater marquees — the traditional moviegoing experience has all but vanished.

The only way the industry has survived is on the back of inventive, big summer blockbusters that offer something different from the recent phenomenon of CGI-heavy superhero fare. 2022 had "Top Gun: Maverick," and 2023 gave audiences "Barbenheimer" — both moments were hailed for "saving cinema."

While "Dune: Part Two" shattered records earlier this spring, this summer has lacked the same cultural zeitgeist moments — if you aren't a fan of animated movies like "Despicable Me 4" or "Inside Out 2," the release schedule has been pretty thin.

Luckily, "Twisters" has arrived, throwing its cowboy hat in the ring, attempting to join the pantheon of the "saviors of cinema." Though the film tries its best and perhaps takes on the task too literally — its climax sees the characters trying to stop a tornado from tearing down a small-town theater — "Twisters" amounts to an uneven whirlwind.

The aptly-titled "Twisters" follows Kate Carter (Daisy Edgar-Jones), a jaded meteorologist trying to move on from storm chasing after a traumatic accident. But after reconnecting with a former colleague, Javi (Anthony Ramos), she's drawn back into the high-stakes world of tornado tracking. Her return is complicated by the emergence of Tyler Owens (Glen Powell), a cocky social media star, who, in contrast with her highly analytical approach, relies heavily on gimmicks and theatrics.

"Twisters" is technically a sequel to the original 1996 film "Twister," but unless audiences are aware of that going in, it's almost impossible to tell. None of the original cast returns, and aside from the Oklahoma setting and a few fleeting nods to the original, the film attempts to stand on its own. Yet it borrows heavily from both its predecessor and other films in the natural disaster genre, struggling to make a unique impact.

Many of the characters are scientists, so much of their dialogue may sound like gibberish to viewers, leaving them blankly staring at the screen and nodding along. The film attempts to rectify this by relying on tried and true stereotypes that audiences can easily relate to. There's the villainous capitalist who cares more about his pockets than the environment and the uptight, nerdy writer who's in over his head. "Twisters" boasts such an expansive cast that many of its characters lack the necessary depth to make them interesting.

This issue extends to the main cast, including its central character, Kate. While she is theoretically the most intriguing figure, grappling with her survivor's guilt and insecurities, she actually feels like a blank slate. She lacks any distinguishing character traits, making it hard to become invested in her journey.

In one of Edgar-Jones' first major leading roles, Kate's character is a bit of a disappointment, though not due to the actress' efforts. Edgar-Jones has proven an ability to be vulnerable on screen and carry emotional moments, as evidenced by the film's enthralling opening and her role in "Normal People." But rather than allowing her the opportunity to showcase her strengths, the writers have created a protagonist who never truly lets her guard down.

Instead, the most complex character is Tyler, who, despite his initial portrayal as an overtly arrogant antagonist, turns out to be much more charitable and kind than expected. Although the shift in his characterization feels a bit sudden, Powell's enduring charm makes the character work. Powell proves to be a perfect choice — he's essentially built his status as Hollywood's next big star by playing smug, lovable characters in movies like "Top Gun: Maverick" and "Anyone But You."

Ultimately, most casual moviegoers aren't interested in "Twisters" for its characters or themes like grief or climate change. They come to see a tornado engulfed in flames wreak havoc, and in that regard, the film succeeds far better than in its characterization and narrative. The action set pieces, which mostly consist of car chases, are consistently captivating and provide a much-needed jolt whenever the character drama starts to drag.

Another intriguing aspect of "Twisters" is its direction. Given its large scope and elaborate sequences involving the tornadoes, one might expect a big-name director. Instead, Lee Isaac Chung, known for the critically acclaimed indie film "Minari," takes the helm — a surprisingly inspired choice.

His keen eye for the environment shines through, even with a growing budget, as he delves into every detail of the setting. While Oklahoma might be a painful reminder of Kate's past, it speaks to the rest of the community's resilience. One of the film's most impactful scenes occurs at a rodeo, where Kate's fears momentarily fade as she immerses herself in the local culture, despite the surrounding destruction.

Throughout its runtime, "Twisters" has several moments where it seems to be on the verge of cracking the code. Whether it's the film's understated exploration of humanity, its breathtaking action sequences or some impressive performances, "Twisters" has something to say, particularly about growing climate concerns. Yet amid the action, flawed writing and reliance on clichés, the film ultimately finds its niche as a fun blockbuster that requires you to turn off your brain to fully enjoy it.

"Twisters" may not "save cinema" or reinvent the wheel — something it clearly isn't aiming to do — but it's a worthwhile way to spend a rainy summer day.