When A Quiet Place announced a third instalment, I was cautiously optimistic. The first two films—especially the original—stood out despite a few flaws and a hefty reliance on suspension of disbelief. What made them shine was their tight storytelling, with action that felt like it followed a logical thread, not just a spectacle for spectacle’s sake. So when I heard the new movie would be a prequel—and, worse, John Krasinski wasn’t directing—I was worried. You know how prequels go in Hollywood. They rarely end well.
But A Quiet Place: Day One did what I didn’t expect. It completely won me over. Not only is it the best film in the series, but it might just be one of the best films of the year. What’s clever is that it manages to be different in tone, style, and scope while still feeling like part of the same universe. Credit for that goes to Michael Sarnoski, who directs the hell out of this movie. He knows how to balance the big spectacle with the intimate moments that make this franchise what it is.
The film expands the world in a way we haven’t seen before, throwing us right into the chaos of an alien invasion in New York City. You’ve got these massive set pieces, people running for their lives, and the tension is dialled up to 11. It’s hard not to be blown away by the scale of it all. But Sarnoski doesn’t let the action overwhelm what matters most—the characters.
Where this film shines is in the quieter moments. It’s not just about aliens attacking; it’s about the people trying to survive. The chemistry between Lupita Nyong’o and Joseph Quinn is unreal. They don’t need many words to convey what they’re feeling, and that’s what makes their performances so powerful. It’s in those moments of silence, of stillness, where the film finds its heart.
Sure, there are jump-scares—they’re effective—but this film is more than just about making you jump. It’s about building suspense and making you care about the people on screen. And that’s why this film works. It takes a story that could have easily been another forgettable prequel and turns it into something smart, emotional, and thrilling. A true standout, not just in the franchise, but in the genre.
Few survival stories hit the sweet spot of action, horror, and character development like this. Day One reminds us that, in the end, it’s the people that matter more than the monsters.
A Quiet Place: Day One is out on 4K, Blu-Ray, DVD and Digital Download now.
Absolute Batman #1 marks the beginning of a darker, more brutal Gotham, where a hulking new Dark Knight takes centre stage. Published by DC Comics as part of its All In initiative, this new universe reimagines Gotham’s protector in bold and fascinating ways. Written by Scott Snyder, with art by Nick Dragotta, colours by Frank Martin, and letters by Clayton Cowles, this is the dawn of the Absolute Universe—and it’s off to a gripping start.
While this issue kicks off a whole new world, it doesn’t begin at the very start. Snyder skilfully weaves together the past and present, offering glimpses of Gotham’s reimagined history while laying out the puzzle pieces of its future. Familiar faces are present, but everything feels fresh and different, with mysteries lurking around every corner. The pacing is deliberate, building a solid foundation before things inevitably come crashing down.
This first issue is about connections—specifically between Batman and the reimagined Alfred Pennyworth, a secret agent who no longer serves the Wayne family. Instead, they’re adversaries, and the dynamic between them adds tension from the start. The dialogue between them is sharp, especially during a brutal and graphic battle where this new Batman reveals his savage fighting style.
The new universe gives Snyder the freedom to reinvent every character. Bruce Wayne’s family history has been rewritten—his parents aren’t the wealthy elites of the main DC universe, and much of Bruce’s past is shrouded in mystery. The narration gives hints of his life story but raises more questions than it answers, leaving readers eager for more.
Alfred Pennyworth’s role is fascinating. No longer tethered to the Wayne family, he’s an independent force, showcasing his intelligence and skill as he navigates Gotham. The adversarial relationship between Alfred and Batman feels fresh, setting up intriguing possibilities for the future.
Many other familiar characters, including members of Batman’s supporting cast and rogue’s gallery, make brief appearances, hinting at their new roles in this reimagined Gotham. It gives the city a lived-in feel, even in this early chapter.
The artwork in Absolute Batman #1 is nothing short of mesmerising. Dragotta’s redesign of Gotham’s most iconic characters is bold, and Batman himself is the standout. This Dark Knight is a massive, hulking figure—more brute than detective. His imposing size dominates every panel, yet he moves with surprising speed and stealth. The cape is a character, adapting to Batman’s needs, from gliding through the city to wrapping around enemies.
The redesign isn’t just about aesthetics—parts of Batman’s costume now double as weapons, adding to his brutal, almost barbaric fighting style. This version of Batman doesn’t just fight crime; he revels in the violence, and it’s clear he has little concern for the lives of those he hurts.
Frank Martin’s colours elevate the story, starting with the familiar dark and gloomy Gotham but adding vibrant splashes of red and blue, giving the book an intense energy. The use of solid background colours in some scenes heightens the impact of the brutal fight sequences, while Clayton Cowles’ lettering fits seamlessly with the tone, adding weight to every punch and line of dialogue.
Absolute Batman #1 heralds a thrilling new era for the Dark Knight. Snyder’s writing is bold, and unafraid to explore uncharted territory, while Dragotta’s art creates a Batman who is as intimidating as he is fascinating. The reimagined characters and settings are fresh, yet the core elements of Gotham’s violence and darkness remain. This comic feels like the beginning of something big and unpredictable, a world where anything can happen.
Whether you’re a longtime Batman fan or new to the character, this first issue delivers a gripping introduction to the Absolute Universe and leaves you craving more. Snyder and Dragotta have created a Batman for a new generation, and it’s as brutal and uncompromising as Gotham itself.
Let’s be honest, with the exception of Bumblebee-the Transformers movies have never exactly been known for their subtlety. Michael Bay gave us five films that were loud, chaotic, and full of explosions, but not much else. So, when they announced Transformers One, an animated origin story for Optimus Prime and Megatron, I wasn’t exactly expecting Shakespeare. But I was wrong.
This film is a breath of fresh air for a franchise that’s always been stuck in second gear. Directed by Toy Story 4‘s Josh Cooley, Transformers One has something that its predecessors often lacked – heart. Don’t get me wrong, there’s still plenty of the metal-on-metal action you’d expect, but this time, there’s actual thought behind it. And the one-note jokes from the trailers? They land.
Set long before the Autobots and Decepticons started wrecking Earth, the film dives into the origins of Optimus Prime (or Orion Pax, as he’s known here), a simple Energon miner with dreams of a better life. Teaming up with hisfriend D-16 (Megatron), Orion sets off on a mission to find the Matrix of Leadership, the lost artefact that could save their dying planet.
Now, I know what you’re thinking: “The Matrix of Leadership? Energon? Really?” Yeah, it sounds ridiculous. But the film knows it’s a bit silly and plays into it with a self-aware, tongue-in-cheek tone that works. It’s a fine line between taking the mythology seriously and poking fun at it, but Transformers One nails it.
Visually, it’s stunning. The underground city of Iacon, where most of the action takes place, looks incredible – all jagged, metallic skyscrapers that stretch up and down like something out of a nightmare. The animation style feels fresh, with a hyper-realistic, shiny sheen that somehow manages to make this world of sentient robots feel grounded.
But where the film really surprises is in its world-building. Transformers One delves into Autobot society, which turns out to be a lot more complex than I gave it credit for. It’s a world divided by a rigid caste system – the “Primes” at the top and the miners like Orion at the bottom. It adds some real stakes to the story and makes the eventual rise of Optimus Prime feel earned.
Action fans won’t be disappointed either. Whether it’s an underground street race through Iacon or a daring rescue in the Energon mines, there’s plenty of metal-on-metal mayhem. But unlike the Bay films, it never feels overwhelming. There’s a balance here that the live-action movies often missed.
So, is it perfect? No. But for a Transformers movie, it’s as close as we’ve ever come. It’s funny, it’s smart, and it’s got just the right amount of heart. If you’ve ever found yourself rolling your eyes at this franchise, Transformers One might just change your mind.
⭐️⭐️⭐️⭐️
Transformers is released in the Uk & Ireland on 11th October 2024.
Martyn is joined by none other than Academy Award-winning director Josh Cooley (Toy Story 4) and legendary Hollywood producer Lorenzo di Bonaventura (Transformers franchise).
The Transformers franchise has been a cultural phenomenon for 40 years, captivating audiences with its unique blend of action, humour, sci-fi, and nostalgia. From animated series to blockbuster films, Transformers has maintained a significant place in pop culture. Now, with the highly anticipated prequel “Transformers One”, directed by Toy Story 4 director Josh Cooley and produced by Hollywood producer Lorenzo di Bonaventura, the franchise is set to take a bold new direction. In this interview, we’ll dive deep into exclusive insights from Cooley and di Bonaventura about their vision for the film and how it will expand the Transformers universe.
A Fresh Take on Transformers:
Transformers One marks a new chapter in the franchise, focusing on the origin story of the beloved Autobots and Decepticons. Set on Cybertron, the movie promises to explore the backstory of Optimus Prime and Megatron, long before they became the leaders of their respective factions. This unique angle on the Transformers lore has fans excited to see familiar characters in a fresh light, and both Cooley and di Bonaventura are eager to deliver.
Josh Cooley said: “We wanted to create something that stands apart from the other Transformers films while still paying homage to the rich history of the characters,” he explained. “This is a story about how Optimus Prime and Megatron were once friends, and how they ultimately ended up on opposing sides. It’s a story of betrayal, friendship, and the complexities of leadership.”
For fans who have always been curious about the deeper mythology of Cybertron and the origins of the iconic war, Transformers One promises to deliver in a big way. Lorenzo di Bonaventura, who has been a producer for the Transformers live-action films since the first installment in 2007, sees this project as a chance to explore themes that were previously only touched on in the franchise.
The Challenge of Reimagining Beloved Characters
One of the most exciting—and daunting—challenges for Cooley and di Bonaventura was reimagining characters that have been beloved for generations. Optimus Prime and Megatron, in particular, have become iconic figures in pop culture, and portraying their younger, more vulnerable selves required a delicate balance between respect for the characters’ legacy and injecting fresh storytelling elements.
“Optimus Prime is the epitome of a strong, just leader, but even he wasn’t always perfect,” Cooley explained. “In this film, we see a younger version of him—someone who hasn’t yet become the Optimus Prime we all know. He’s still figuring things out, and that adds a layer of depth to his character.”
On the flip side, Megatron’s transformation from a well-intentioned leader to a ruthless tyrant is a key focus in Transformers One. “We’ve always seen Megatron as the villain, but there’s a deeper story to tell,” di Bonaventura said. “We wanted to explore what motivates him, what pushed him to make the decisions that eventually led him down the path of destruction. It’s not just black and white; there’s complexity there.”
This nuanced portrayal of these iconic characters is a major selling point for the film. Rather than simply being another action-packed installment, Transformers One aims to give fans a deeper understanding of the characters’ motivations and the emotional stakes behind the war on Cybertron.
Building the World of Cybertron:
One of the key differences between Transformers One and previous entries in the franchise is its setting. While past films have primarily taken place on Earth, this movie is set entirely on Cybertron, the home planet of the Transformers. This shift in setting allows for a more in-depth exploration of Cybertronian society, politics, and culture.
Josh Cooley expressed his excitement about building out the world of Cybertron: “We’re creating a completely new visual language for the planet. Cybertron is this massive, living world with its own history, architecture, and ecosystems. It’s been an incredible experience working with the design team to bring this world to life in a way that feels both familiar to fans and entirely new.”
Lorenzo di Bonaventura added, “Fans have been asking for a Cybertron-focused story for years, and we knew that if we were going to do it, we had to go all-in. This is Cybertron like you’ve never seen it before—there are political factions, different regions with their own unique environments, and so much history that informs the characters’ actions.”
The production team has worked closely with long-time Transformers lore experts to ensure that the portrayal of Cybertron remains true to the franchise’s roots while still introducing new elements to keep the story fresh and exciting.
A Star-Studded Cast:
A major draw for Transformers One is its star-studded voice cast. Chris Hemsworth lends his voice to the young Optimus Prime, bringing a fresh energy to the character. Hemsworth’s ability to balance strength and vulnerability makes him a perfect fit for this version of Optimus, and fans are eager to hear his take on the role.
Meanwhile, Brian Tyree Henry voices Megatron, giving a performance that’s expected to showcase the character’s complex journey from hero to villain. Henry’s ability to convey deep emotion and inner conflict will be essential in bringing Megatron’s arc to life.
The supporting cast includes Scarlett Johansson, Keegan-Michael Key, and Laurence Fishburne, among others, all of whom bring their considerable talents to the world of Transformers. Each actor has been carefully chosen to reflect the unique qualities of the characters they portray, and their performances are expected to elevate the film’s emotional and narrative depth.
Animation-Pushing the Boundaries:
Unlike the live-action Transformers films, Transformers One will be an animated feature. This decision was made in part to allow for greater creative freedom in bringing Cybertron to life and in depicting the Transformers themselves in their early, more idealistic forms.
Josh Cooley, having worked in animation for years, sees this as an opportunity to push the boundaries of what’s possible in the medium. “Animation allows us to do things that would be impossible or prohibitively expensive in live-action,” he explained. “We can create massive, sweeping environments, have the characters move in ways that feel more true to their robotic nature, and really get creative with the visual storytelling.”
The animation style, while not fully revealed, is expected to blend cutting-edge technology with a more classic Transformers aesthetic. Cooley has emphasized that the team is working hard to strike the right balance between paying homage to the original designs and updating them for a modern audience.
What Transformers One Means for the Future of the Franchise
With Transformers One, the creative team is not just looking to add another chapter to the franchise—they’re hoping to create a new starting point for future stories. By focusing on the origins of the Autobots and Decepticons, Cooley and di Bonaventura are laying the groundwork for potential sequels and spin-offs that could delve even deeper into the rich mythology of the Transformers universe.
Lorenzo di Bonaventura hinted at the broader implications of the film: “This is a movie that opens up a lot of possibilities. There’s so much untapped potential in the Transformers lore, and Transformers One is just the beginning. We’re excited to see where the story can go from here.”
Transformers One is out in the UK & Ireland on 11th October 2024.
In Rupert Sanders’ 2024 adaptation of “The Crow,” the boundary between the realm of the living and the dead is depicted as perilously thin, a concept made evident from the film’s opening moments. Loosely based on James O’Barr’s iconic comic, the movie explores the concept of evil within a mundane and cruel world. However, the film struggles to find a coherent voice, resulting in a confusing mix of styles and tones that undermines its potential. Despite its efforts to blend darkness with messages of love and redemption, it ultimately fails to capture the spirit of the original work.
The screenplay by Zach Baylin, inspired by the famous 1989 comic, strips the story of its unique elements, transplanting it into a dark, gang-ridden setting that adds little to the concept of an extraordinary anti-hero with a broken heart. This shift brings the story closer to the superhero genre than necessary, causing Eric Draven, originally a tragic icon immortalised by Brandon Lee, to lose much of his depth and identity. Bill Skarsgård’s portrayal of Eric is but a shadow of the complex character found in the comic, and the character’s return to the big screen feels more like a generic action hero than the mysterious, grief-stricken figure fans remember.
This disconnect is further compounded by the film’s stylistic choices. In an attempt to imitate the French Cinéma du look, Sanders prioritises visual flair over narrative substance. The result is a film that swings wildly between different tones and aesthetics, failing to establish a coherent atmosphere. Vincent Roeg (played by Danny Huston) is introduced as a potential enigmatic figure, but the film lacks the depth or interest to explore his origins, reducing him to a mere plot device.
The tragic origins of “The Crow” franchise only heighten the disappointment of this new adaptation. The original 1994 film, directed by Alex Proyas, was haunted by the real-life tragedy of Brandon Lee’s death during filming. The movie became a cult classic, not just for its gothic atmosphere and Lee’s charismatic performance, but also as a posthumous tribute to the actor. Proyas’ film successfully mixed elements of Japanese anime, Hong Kong gun-fu, and a brooding industrial aesthetic, creating a moody, memorable cinematic experience.
In stark contrast, Sanders’ version lacks the emotional and visual resonance of the original. His decision to distance the film from Proyas’ work is understandable, given the weight of the original’s legacy, but his execution leaves much to be desired. The film’s industrial aesthetic, with its blurry camera work and twisted angles, feels more like a superficial imitation of other action films, particularly “John Wick,” than a meaningful continuation of “The Crow’s” legacy.
The performances in the film also failed to elevate the material. Skarsgård, known for playing brutal villains, struggles to imbue Eric with the necessary depth, reducing the character to a muscle-bound anti-hero devoid of the tragic weight that made him iconic. FKA Twigs, portraying Shelly, fares even worse, as her performance lacks the ethereal quality needed to make the character compelling.
As the film plods along, it becomes clear that Sanders’ “The Crow” is a missed opportunity. The script quickly abandons any attempt to delve into the rich mythology of the comic, opting instead for a barrage of explosions, gunfire, and violence that becomes tedious rather than thrilling. Gone is the haunting image of Eric Draven standing in the darkness, wounded and grieving; in its place is a hollow action figure devoid of the mystery and pathos that made the character a cult figure.
Overall, “The Crow” (2024) is an underwhelming reboot that pales in comparison to both its source material and the original film. It’s a reminder that not every story needs to be remade, especially when the remake fails to capture the essence of what made the original so powerful. The film’s missteps in tone, style, and character leave it as a forgettable entry in a franchise that should have been allowed to rest in peace.
Zoë Kravitz’s (The Batman) directorial debut, Blink Twice, is both provocative and bold, captivating you from the moment the first frame flickers into life. We watch Naomi Ackie’s (Doctor Who) Frida stare at her phone with a vacant intensity that screams something has already gone wrong. That discomfort is intentional. It’s what writer/director Zoë Kravitz and her co-writer E.T. Feigenbaum want you to feel—as though the world they’ve invited you into is irrevocably tilted, and they keep you spinning from there.
Blink Twice plays with familiar beats, but with an energy and pace that keeps you fully engaged. Within the first ten minutes, Frida and Jess are whisked away to an idyllic island by the ultra-wealthy Slater King, played by Channing Tatum (Deadpool and Wolverine). Days by the pool and nights filled with hallucinogens become the norm, and Kravitz’s filmmaking keeps the atmosphere lively and immersive.
The ensemble cast enhances the film’s appeal. Christian Slater, Haley Joel Osment, Kyle MacLachlan, and Geena Davis bring charisma to King’s inner circle. The island is so intoxicating that when the inevitable downturn comes, it’s not just shocking—it’s a gut punch that leaves you questioning your complicity in the fun.
Kravitz and Feigenbaum pack the film with themes of gender, wealth, and power, along with subtle nods to race. While some of these themes are presented straightforwardly, especially in the finale, they’re not entirely novel. Yet, they resonate within the context of the story, even if the dialogue occasionally feels like it’s holding the audience’s hand a bit too much. This handholding is a common issue in major studio releases and doesn’t detract too much from the overall experience.
What may polarise viewers, however, is the film’s finale. The intense and abrupt reveal pushes the film into genuine stomach-churning territory. For some, the cruelty of the final act might feel overwhelming, toeing the line between impactful and excessively bleak. It’s a daring choice for a studio film, and whether it strengthens or weakens the experience may depend on the viewer’s tolerance for such intensity.
There’s always plenty to look at in Blink Twice, much of it important in the moment and even more meaningful as the story unfolds. Kravitz gives us all the clues but doles them out in such a way that we still feel genuinely shocked by what’s happening on Slater’s so-called “Pussy Island,” while also—crucially—never feeling as if Kravitz and Feigenbaum are toying with us.
It may not break new ground, but Kravitz’s confident direction, combined with a stellar cast and a sense of playfulness, makes it a film worth watching. Kravitz clearly has a solid career as a director ahead of her. The movie’s ability to draw you in and then challenge your comfort is a testament to its power. Whether you leave the cinema exhilarated or shaken, you won’t soon forget it.
Written by Alvarez and collaborator Rodo Sayagues, Alien: Romulus tells a story set between the first two films, beginning with the wreckage of the Nostromo floating through space as a crew we don’t know investigates the area, eventually finding the creature expelled from the shuttle by Ripley at the end of the first film, making the mistake of bringing it aboard. From there, we move to a colony inhabited by Weyland-Yutani workers and meet Rain (Spaeny), a young woman whose parents died from mining-related illnesses, and whose only companion is the synthetic Andy (Jonsson), reprogrammed to always prioritise her well-being. Believing her contract with the corporation is about to end, allowing her to leave the colony, Rain is shocked to learn that the agreement has been extended, meaning she must stay for several more years.
It’s then that her ex-boyfriend Tyler (Renaux) reveals the existence of an old, decommissioned ship in orbit around the planet, with cryogenic chambers that could enable the escape of a group that also includes his sister Kay (Merced), his cousin Bjorn (Fearn), and Bjorn’s girlfriend Navarro (Wu).
Production designer Naaman Marshall crafts a landscape that looks like absolute hell, all whilst maintaining the aesthetic of the originals. Every piece of equipment has large, buttons and systems that load user photos slowly. Ships, tools, and weapons display dirty, old, and irregular surfaces. The colony-planet is depicted as an industrial nightmare, where life is cheap and the workers live in darkness, and exhaustion, under constant threat of illness or death.
Alvarez and cinematographer Galo Olivares have learned from the originals that horror is often heightened by what we don’t see, plunging parts of the sets into heavy shadows. The filmmaker also brings new ideas to the franchise, such as the terrifying X-ray image and the zero-gravity sequence. The sound design is also flawless, opting for silence at key moments.
If I have any criticisms, it’s that apart from Rain and Andy, the rest of the group feels a bit one-dimensional, though an extended cut on Blu-Ray could potentially address this. Despite this, every actor delivers an outstanding performance, with special mention to David Jonsson, who masterfully adjusts Andy’s character throughout the film without losing its essence.
This is the best Alien instalment in nearly 40 years, although your enjoyment may hinge on how you feel about the use of CGI to resurrect a dead actor. However, it is worth noting they had full permission from his widow, who loved and thought her husband would be happy with the result.
It’s no secret that the MCU has fallen by the wayside lately, with even its most die-hard fans losing interest. A lot of pressure and expectation rest on “Deadpool & Wolverine,” and while it’s a fun ride, it’s not quite the fix Marvel needs.
That’s not to say it’s a bad film—far from it. “Deadpool & Wolverine” is a very good “Deadpool” film, certainly better than “Deadpool 2.” Ryan Reynolds’ love for the character and source material shines through, and everyone involved cares.
The setup is intriguing: a TVA suit, known as Mr. Paradox (Matthew MacFadyen), has been tasked with tidying up all the dead-end timelines. He either lets the universes fade away or puts people into The Void, where these discarded souls come under the power of Cassandra Nova (Emma Corrin), the telepathic evil twin of Charles Xavier.
We catch up with Wade Wilson, who has long since retired as Deadpool and is working as a used car salesman with Peter (Rob Delaney). Wade is then kidnapped by Mr. Paradox, who offers him a place in the MCU if he helps him close Wade’s universe. With this universe’s Wolverine having died in “Logan,” Wade decides to find another version of Wolverine (Hugh Jackman) to help him defeat Mr. Paradox and save his world.
The film is fast-paced, foul-mouthed, and an absolute joy. As a lifelong comic book fan, it had me grinning from ear to ear. Team-ups happened constantly in the comics, and “Deadpool & Wolverine” is filled with familiar faces from the MCU and Marvel-adjacent stars. Even some fan-casted actors jump in for a slice of the action.
Every few minutes, the audience in my screening burst into cheers and applause as another famous face appeared. It was like “Spider-Man: No Way Home,” but with an added 26 years’ worth of nostalgia.
The problem with stuffing all that fanservice into a 2-hour movie is that it doesn’t leave much room for the story to breathe. Balancing all those cameos in a 2-hour film makes them feel underserved. Giving each character the time they deserve would result in a 4-hour movie, which would feel too much.
I’ll end my review here, as I don’t want to spoil any surprises. If you want to see this spoiler-free, do yourself a favour and see it this weekend.
The lovely people at Paramount have given us a set of 10 tickets to give away for a fan screening of Transformers One, happening on 25th of July in London. Exact location and time to be confirmed.
To be in with a chance of winning answer the question either on Twitter or via email info@badwilf.com
Question: In the Transformers universe, what is the name of the ancient artifact that can harness and control the power of the Transformers and is sought after by both the Autobots and Decepticons?
**Terms and Conditions**
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In 1996, Twister stormed into cinemas, becoming the second highest-grossing film of the year, just behind Independence Day. The movie received two Oscar nominations for its outstanding sound and visual effects. Its narrative, centring on a team of storm-chasers tackling an unprecedented tornado event while navigating a complex love story, captivated audiences. With Helen Hunt and Bill Paxton at their peak, Twister heralded a new age of disaster films. It wasn’t flawless, but combined with Jan de Bont’s directorial style, an extremely talented cast, and state-of-the-art effects from Industrial Light & Magic, audiences were blown away.
Now, in a vastly different world from 1996, Twisters aims to recapture that magic. Directed by Oscar-nominated Lee Isaac Chung (Minari), this modern disaster film boasts an ensemble cast featuring Glen Powell (Hit Man, Anyone but You), Daisy Edgar-Jones (Fresh), Brandon Perea (Nope), and Anthony Ramos (In the Heights).
Twisters begins with Edgar-Jones’ Kate leading a group of college storm chasers. A life-altering event in the film’s opening causes Kate to abandon storm chasing for a business career in New York City. Five years later, Ramos’ Javi, a military veteran turned entrepreneur, convinces her to return to Oklahoma to help develop a groundbreaking tornado tracking system.
Unlike Twister, co-written by Michael Crichton, Twisters features a screenplay by Mark L. Smith (Midnight Sky). While Edgar-Jones and Ramos share good chemistry, Powell’s Tyler, a YouTube storm-chasing star, adds comic relief and tension. Tyler’s social media antics contrast sharply with Kate and Javi’s scientific goals, leading to inevitable intrigue and rivalry.
Director Chung chose not to address climate change in Twisters, believing cinema shouldn’t preach. As a result, the film focuses on entertainment rather than scientific or environmental commentary, and it’s so much stronger for it. Every character is deeply flawed but yearns to be better. Powell and Edgar-Jones are a believable couple. However, Edgar-Jones’ accent slips occasionally, revealing her London roots.
Chung and his team deliver a mix of action and light-hearted storytelling, providing audiences with a whirlwind of entertainment. At just under two hours, Twisters maintains a good pace, though it peaks early with an incredible opening that it fails to top.
⭐️⭐️⭐️
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