Glen Powell has chemistry with everything. And I mean everything. Yeeehaaaw. Watching him in Twisters is an absolute delight. Glenn Powell is having the time of his life, and is just full of charisma. Pretty sure he is going to take over Tom Cruise’s roles, probably in the next five years. Till then he is happily a supporting character in his movies, and I cannot get enough of it. I have been in love with Daisy Edgar-Jones ever since I saw her in Normal People. Same goes for Anthony Ramos, ever since I saw him on Hamilton. So in short, I loved every second of it.
The pure blockbuster filmmaking magic of Twisters is exactly why we go to the movies. This is why you show up on a Friday night, popcorn in hand, ready to see Glen Powell in a wet t-shirt wrangle tornadoes. It brought me back to the 2000s, the days of adrenaline-fueled, unapologetically over-the-top motion pictures that made me fall in love with cinema. This was wildly entertaining. Non-stop fun. I would have loved to have been involved in this production. Just good, old fashioned entertainment.
A stand-alone sequel to the second-biggest summer blockbuster of 1996, Lee Isaac Chung’s Twisters might belong to a different millennium than Jan de Bont’s original, and it only shares a single character with that cow-flying classic of early Hollywood CGI, a data machine named Dorothy, but each of these spectacles is swept along by the same creative ethos. Much like its predecessor, this rousing and surprisingly romantic gust of multiplex fun spins a strange combination of genres into a conventionally satisfying ride. Where the original Twister spun a vintage screwball comedy into the shape of a cutting-edge disaster movie, Twisters effectively flips that script by launching a breezy modern rom-com into the vortex of an old-school adventure.
Glen Powell is here, of course, churning pure charisma out of thin air as Tyler, a flashy YouTuber who chases views of tornadoes for tornadoes of views. He is mismatched with the far more serious Kate, played by Daisy Edgar-Jones, a doe-eyed scientist whose teenage dreams of solving the tornado crisis are blown away by the very first twister. The pressure differential between these two characters would be strong enough to move the plot on its own, even without the cloud-sized monsters they are hunting across Oklahoma or the half-hearted love triangle that threatens to form whenever Kate’s old friend Javi, played by Anthony Ramos, shows up with suspicious motives and military imaging tech.
While Mark L. Smith’s screenplay emphasizes the destructive power of these storms and the toll they take on the communities in their paths, the devastation is fringed with awe. This allows Kate, Tyler, and his motley crew of storm-chasing renegades to share the visceral high of rescuing hope from catastrophe. Beautiful people, heart-racing action, genuine pathos, and a touch of commentary on climate change make the movie feel both exciting and relevant. Everything functions like a traditionally structured blockbuster and it works. It feels like one of those mid-2000s epics that would have been rented from Blockbuster on a Saturday night.
Some moments are a little too obvious, and Daisy Edgar-Jones’ character arc occasionally feels half-hearted, but the thrills more than compensate. The opening sequence is a heart-pounding introduction, filled with incredible CGI and tornado action that immediately had me clinging to my seat. From the daring storm-chasing sequences to the smaller character moments, the film keeps you engaged. The ensemble cast is incredibly lovable, and each supporting character adds personality and humor. Brandon Perea, Tunde, Sasha, and the rest of the storm-chasing team are fantastic, giving the world of Twisters a sense of camaraderie and chaos that feels genuine.
Lee Isaac Chung would not be the first director you would expect to helm a blockbuster like this, yet he brings his sensibilities from films like Minari to balance the chaos with tender human moments. Small touches like the sweeping landscape shots, moments of quiet reflection, and character-driven drama give the film unexpected depth. Benjamin Wallfisch’s score heightens both the tense and intimate moments, perfectly complementing the destruction and spectacle on screen.
In terms of pure fun, Twisters delivers. The tornado set pieces are thrilling, the visual effects are stunning, and the film captures the joy of spectacle while maintaining a surprisingly strong emotional core. Glen Powell and Daisy Edgar-Jones have incredible chemistry. Powell brings humor, charm, and energy to every scene, while Edgar-Jones grounds the story with her heartfelt performance. Anthony Ramos provides strong support, and the rest of the cast is equally engaging.
Sure, the film lacks some of the originality and character depth of Spielberg’s touch in the original, and some sequences feel manufactured, but the upgraded special effects, thrilling action, and sheer fun more than make up for it. It is a cinematic experience I did not know I needed. It is exciting, emotional, and entertaining all at once. Twisters is a film that reminds you why summer blockbuster cinema is special.
This is a film about hot people, tornadoes, and a ton of fun. Nostalgia plays a role, but it stands on its own as a thrilling ride. Glen Powell, Daisy Edgar-Jones, and Anthony Ramos are a legendary trio whose chemistry makes this movie soar. Twisters is a perfect mix of adrenaline, humor, and heart.
If you want big action, incredible visuals, and unforgettable performances, this is a film to see. The tornadoes are terrifying, the humans are compelling, and the chaos is endlessly entertaining. Glen Powell has charisma for days, Daisy Edgar-Jones is as incredible as ever, and the whole cast makes this one hell of a ride.
Twisters is exactly what a modern blockbuster should be.
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