Disaster Movies: A Genre That Refuses to Die

In the early days of the Ford administration, disaster movies were all the rage. From capsized cruise ships to skyscrapers ablaze, and airplanes imperiled, the genre ran the gamut of mishaps before fading away at the end of the 1970s. But with advances in computer capabilities, disaster movies made a comeback of sorts in the 1990s, with films like Jan de Bont’s “Twister” (1996) leading the charge.

Fast-forward nearly 30 years, and we have a standalone sequel, “Twisters” (Universal), waiting in the wings. While moviegoers may not need to take shelter from this long-distance follow-up, neither will it transport them over the rainbow.

The fury of the tornado

The main flaw in the production, helmed by Lee Isaac Chung, is its consistent air of Hollywood phoniness. Its main asset is the mostly appealing antagonism-turns-to-love tale that unfolds amid the rising winds.

Haunted by an experiment during a tornado that went fatally wrong, meteorologist Kate Carter (Daisy Edgar-Jones) has spent the ensuing half-decade practicing her craft from the safety of a desk. She’s reluctantly drawn back to storm chasing, however, when her old friend Javi (Anthony Ramos) suddenly appears on the scene seeking her help.

 Kate and Javi team up

Javi is out to launch a potentially beneficial new technology. But he’s convinced he can only succeed with the aid of Kate’s expertise and intuition.

Once back on the plains, Kate – who quickly becomes the guiding force of Javi’s team – crosses paths with a squad of apparently reckless thrill seekers led by cocky self-proclaimed “tornado wrangler” Tyler Owens (Glen Powell). Kate and Tyler initially clash, then develop a relationship of mutual respect that eventually deepens into a romance.

 Tornado alley, where the action unfolds

Like the burgeoning bond between the principals, the hairbreadth escapes chronicled in screenwriter Mark L. Smith’s script are entirely predictable, the sacrifice of the odd extra notwithstanding. So much so, that viewers may emerge from the Cineplex humming that old standard, “Just in Time.”

“Twisters” does promote compassion for catastrophe victims, making concern for them the moral standard by which its characters are to be judged. And objectionable ingredients are mostly kept out of the mix, so mature adolescents may be given the go-ahead to reap the whirlwind.

Yet human interaction comes in a poor second throughout the proceedings, which are focused instead on the wizardry of special effects. So audience reaction to the picture will largely depend on each patron’s interest in large-scale displays of Mother Nature’s fury.

 Tornado damage, a sobering reminder of nature’s power

In conclusion, while “Twisters” may not be a groundbreaking film, it does offer some thrills and spills amidst its predictable plot. And who knows, it might just inspire viewers to show compassion for those affected by natural disasters. But let’s be real, it’s not going to win any Oscars anytime soon.