I’m probably one of the first in line when it comes to a negative reaction to the announcement of another long-delayed sequel to or reboot of an old favorite. In general, I’d prefer that the media Powers That Be leave classics and standalones alone. Imagine, then, my surprise when I actually enjoyed TWISTERS!
The Original: Twister (1996)
I’ve been watching the original Twister since I was a little kid. Along with a handful of other late-80’s and 90’s blockbusters and cult classics, Twister is one of my go-to comfort watches. Seriously, it’s one of those movies that I could probably write out the dialog from memory. It sparked an interest in science, introduced me to some incredible rock music, and was one of the first orchestral scores that lived rent-free in my head. Twister was probably also my first exposure to Michael Crichton’s work, with which I became properly obsessed in my teens.
In short, with a bar that high and as high a nostalgia factor, my first reaction to news of TWISTERS was actually dismay. I’ve been burned enough times that I’d actually resolved to skip this sequel, to ignore it entirely. I took an educated guess as to what it would be based on the other unasked-for sequels of recent memory. A couple of reviews from trusted sources convinced me to give it a shot once it became available to stream. Instead, I was very pleasantly surprised.
So, how did TWISTERS (2024) succeed with this embittered and increasingly sequel-averse viewer?
A Totally New Cast
I was genuinely shocked that we did not get an appearance from a member of the 1996 cast in Twisters. Of course, some of the original cast are no longer with us, alas, but many still are – and the production team managed not to go for the easy nostalgia points of an obvious cameo appearance, or of writing one of the 90’s chasers featuring as a mentor figure.
Instead, TWISTERS takes a chance on an entirely new cast, with no major names that stood out to me (although I’m thinking several in the cast have a bright future ahead!), and let them stand entirely on their own. Compared to the route that other generation-spanning sequels and franchise reboots have taken, this struck me as a bold move, but it paid off.
Kept the Nostalgia Subtle
Instead of relying on predictable cameos or torch-passage plot elements from the stars of the original, TWISTERS kept the nostalgic callbacks to subtle parallels. There are Easter eggs for the eagle-eyed rather than a carbon-copy veneer of the familiar to make sure you “get it.”
We do get a glimpse of “Dorothy” in the introductory scene that establishes the heroine’s backstory. But after that, the technology is all new and fresh (albeit still Wizard of Oz themed). The same introductory scene establishes that the heroine and her friends/colleagues are students/alumni of the same college as the original chasers. We get tornadic destruction at a movie theater.
The story takes place in a universe that is clearly the same as the original, but it is still fully encouraged to stand on its own two feet.
Flip Plot Expectations
I smiled when I realized how the story was handling the rivalry between the “corporate sponsored storm chasers” and the rough-and-tumble chasing-from-the-heart team.
The easy way would have been to maintain the same basic rivalry dynamic from the original; romance subplot happens within the same faction, inter-group rivalry as a separate plot point. A story could have worked on the same basic structure as the original, and the early setup teased the potential for something like this between Kate and Javi.
The fresher but predictable switch would have been a 1:1 flip. Have the corporate sponsors still corporate, but altruistic compared to the internet influencer merch-sellers that the new rivals are initially presented as. At about the 1/3 mark of the film, this looked like the direction that story would take. Our heroes are corporate-sponsored, but their hearts are in a better place than the competition, who are in the game for clicks and social media virality.
But TWISTERS did the plot one more, erm, twist, with the reveal of the ultimate goals on both sides. The addition of the romance subplot happening inter-group as well, with a Romeo/Juliet angle vs. a resparking of an older flame, added another layer to the factional interplay rather than an independent plot thread (as in the original). That complexity was another bold choice that paid back a more original and creative feel to the final product.
Focus on the Story: No Soapboxes or Perspective-Signaling
I generally prefer to write and comment on story, not politics or topics that tend to become politically-charged. I won’t go deep into the latter here. Suffice it to say that I have my own opinions, arrived at after much consideration.
But, I do need to touch on one politically-charged topic just a little bit in order to cover an element that was unexpectedly MISSING from Twisters, in a good way for the story: any major spotlight on or plot relevancy for climate change.
Aside from an offhand remark from one character during Act 1, climate change was largely left out of the plot. For a film where the antagonist is primarily severe weather, that was an impressive choice. Rather than use a weather movie as a vehicle to raise awareness or sympathy for policy, the writers let the story itself shine.
It doesn’t matter to me where you, dear reader, stand on the climate issue. It was simply refreshing to me to see a media production involving weather that did not use the issue as a pillar of its plot. Unexpected, and positively so.
My Quibble: The Music of TWISTERS
Despite everything that Twisters did phenomenally right, I did have a minor quibble. Mostly because I’m a movie score and soundtrack nerd. It’s the music.
First, to give the devil his due – I love the featured Luke Combs song “Ain’t No Love in Oklahoma.” It’s been a long time since I’ve played a new release country song on repeat. There are some other good country songs on the Twisters soundtrack. It’s not in the least bit bad in and of itself.
The quibble for me was that the soundtrack was SO DIFFERENT from Twister (1996).
The Score
The 2024 score felt like it was missing the clear leitmotif orchestral element completely, the more subtle “tune on the radio in the background” feel in quieter moments, and was all country music. It was NOT BAD, but different enough in comparison to the original that the auditory feel was jarring for me. The score of TWISTERS was more-or-less forgettable, with no iconic theme that leaped out to me. The trend for film scores in general seems to be moving toward something more atmospheric than thematic, but I digress.
I can still, almost 30 years after the first time I ever saw Twister, hear that wheat field zoom onto Bill’s red Dodge (“liability only”). Same for the panning shot off of the Wakita water tower, or the way that the theme changes as tension rises and the weather gets worse. Those kinds of musical moments didn’t leap out at me in Twisters at all.
The Soundtrack
Twister had some seriously eclectic music on the non-score soundtrack, but classic rock featured front and center. There’s the iconic medley scene that kicks off with Dusty blasting Deep Purple’s “Child in Time.” There’s the gorgeous Van Halen piece, “Respect the Wind,” that takes over from the orchestral score for the end credits. And, of course, Van Halen again taking over from Mark Mancina’s thundering orchestra as the chasers leave Aunt Meg’s house with the hard-rocking “Humans Being.”
There are other songs and genres represented in the 1996 film, usually very subtly. Mark Knopfler’s “Darling Pretty” plays on the radio when Bill and Jo first reconnect at the beginning of the film. Shania Twain’s “No One Needs To Know” on the background radio when Jo and Melissa are ordering drinks. But the overall auditory feel of Twister is still very solidly “Dusty’s” hard and prog rock, team lifting with Mancina’s bold use of orchestral leitmotif. Twisters, in contrast, focused on all country songs playing front and center.
Again, not bad in and of itself, simply an auditory vibe that didn’t share much with the original. Musically, these films have more of a cousin relationship than a brotherly one. A blessing and a curse, perhaps, but a less positively unexpected difference for me.
Final Verdict
If you’re like me, struggling with sequel and reboot fatigue from Hollywood, I can heartily encourage you to give Twisters (2024) a chance. The creative team made some brilliant moves that makes this film stand out as a worthy companion to the original. Well worth the viewing, and even re-viewing. And, not least, worth learning from and comparing what works to what doesn’t!
If you appreciated this breakdown of TWISTERS, you may also enjoy my deep-dive on Gaston’s villainy in the classic Disney version of Beauty and the Beast!
Until next time, may the stories that you seek out (and the stories you tell yourself and the world!) be good ones!
Comments are closed.