It might not be fair, or rational, but there is something about the genre that inspires otherwise reasonable moviegoers to giddily give themselves over to a wild premise — the more ridiculous and i…
We have a complex relationship with disaster movies. Just look at the discussion about a ” Twisters ” poster, which became a perfect encapsulation of our love-hate tendencies.
Both lines of thought can be true though. Maybe their coexistence is essential. This makes no sense! Also, sign me up immediately! Disaster movies are almost required to be graded on a curve. And filmmaker Lee Isaac Chung’s entry into the canon is perfectly paradoxical. Such is the case with “Twister,” Jan de Bont’s film about storm chasing and remarriage. The modern collective love for it would probably surprise even the critics who reviewed it favorably in 1996. Part of that is certainly the fact that in the 28 years since it was released we lost both Philip Seymour Hoffman and Bill Paxton.
But Chung, a filmmaker best known for the comparatively small “Minari,” has made a solid film with escalating action sequences that look great on the big screen. There is once again a crazy opening that gives Edgar-Jones’ tornado-obsessed Kate a trauma origin story. Her hubris in thinking she could “tame” a tornado with science backfired and people died; But five years later her old friend Javi convinces her to come back to Oklahoma’s Tornado Alley to attempt a different kind of study.
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