Twisters is most enjoyable when the sky becomes the character. Lee Isaac Chung gives the storm sequences scale and texture, then lets the human story stay simple enough to keep the momentum moving.
The storm arrives slowly.
The best tornado sequences build anticipation before the destruction. Cars stop, birds disappear and the air changes before the first wall of wind arrives.
Edgar-Jones and Powell.
Daisy Edgar-Jones gives Kate a grounded seriousness, while Glen Powell supplies the easy charisma the genre needs. Their chemistry keeps the story from becoming a weather documentary.
You can hear the storm before you see it.
A modern disaster movie.
The film updates the technology without making the characters dependent on screens. The danger remains physical, which is where the movie is strongest.
Leave the theater smiling.
Twisters does not need to reinvent disaster cinema. It simply remembers why the genre is fun.
The movie knows that sometimes the best reason to see a blockbuster is to feel the room shake.
The human drama is deliberately straightforward, but that is not really a weakness here. The movie knows that the reason to see it is the feeling of standing too close to something enormous. When the storms arrive, the scale does the storytelling and the film finally becomes as restless as the weather it is chasing.
