movies

Timothée Chalamet Brings His A-Game to the Raucous ‘Marty Supreme’
Elevation Pictures

One need not brace for the trite biopic standard when sitting down to watch Josh Safdie’s latest. The story of Marty Reisman (Marty Mauser by way of Timothée Chalamet in the film) is loosely adapted for this snappy drama that, if anything, uses ping pong as a background timekeeping device more than it does a major plot point. Marty Supreme is much more the next story of a fallible Safdie hurricane than it is a historical tribute to a late pioneer. And it’s all the better for it.

Mauser is in a similar precarious position to his cohorts in Howard Ratner (Uncut Gems) and Connie Nikas (Good Time), staying just barely avoiding drowning but choosing to sprint rather than tread water. He’s a sharp mouthed brat (a pisk, if you will) adept at the kind of charm that’s only effective until he keeps on talking. He’s an eye on an important prize: a ping pong tournament abroad that will grant him global acclaim. Mauser needs the cash to get himself there, and the resources to get there in style. So sets off his calamitous sprint through match losses, affairs, a nagging mother, a would-be business partner, and a pregnant old flame with a protective beau. Marty is a hurricane, like Safdie protagonists before him (though this one was crafted without Benny- but with their longtime collaborator, Ronald Bronstein). He is constantly in messes of his own making, something he feels slighted by as he is just doing “what it takes” to succeed.  Mauser uses people as rungs as he climbs to what he believes to be his manifest destiny.

Safdie sets his frantic drama in 1950s New York, where a generation of Jewish immigrants are still reeling from the holocaust. There’s the sort of scrappiness in Mauser one might expect to see in tales of post WWII gangsters like Benny Siegel or Meyer Lansky, men contending with being on the receiving end of a particular form of racism and refusing to be brought down. The backdrop allows Mauser to self-justify his sharpness and entitlement and also allows him to better appear a burden to Americans reeling from a war where they were made to liberate his people. It also lends Mauser a shorthand to interact with others in his neighbourhood and build the sorts of allyships that are only slightly more difficult to bruise with his antics.

Chalamet, who was already a favourite around cinephile circles, earns his place as a lead in a contender here. His delivery of Mauser’s snappy dialogue is deliciously funny, and his playful smugness is endlessly effective. Looking as much like a bar mitzvah boy as he does a snappily dressed 20th century man, he is able to play with the earnestness and entitlement of a man who has both childlike wonder and the weight of adulthood rushing through him. He’s complimented by titans in his co-stars like Gwyneth Paltrow, but there’s reason the character is titular.

Marty Supreme is a frantic tale of “pride before the fall” that’s dressed up like the most gorgeous period piece complete with fresh garments and detailed storefronts. Set against a table tennis tournament is the story of a snappy young pisk whose success comes from disobedience, the disobedience inherited into a people who were on the wrong side of a quest for extermination. 

Marty Supreme hits theaters December 25, 2025

Fantasia 2025: ‘Burning’ is a Surprisingly Feminist Rashomon Thriller
Fantasia Film Festival

It’s only a matter of coincidence that I recently made my way through Little Fires Everywhere which also started in media res with characters reacting to a home burning down leaving the audience to wonder what led to it. The similarities between these stories mostly ends there, but Burning does have that in common with the limited series.

Burning (or Ot), out of Kyrgyzstan, is somewhat of a black box for those unfamiliar with the film culture of the area or who know director Radik Eshimov from his work in television production (where he focuses on comedy). Though there are few laughs to be found in this haunting tale of subjective truth that ends in a pile of ash and a conversation lit by flashing lights.

As I mentioned, the movie begins after the fire as townspeople gather around the local convenience store (or “depanneur” for the Montreal festival audience) to swap stories of the days leading up to the events. The movie is then broken into three parts, each being from the second-hand perspective of someone who was in the house: the husband, the wife, the mother-in-law. It becomes a spooky tale that cleverly uses shifting perspectives and repeated moments and lines to change the views of the happenings without changing the ultimate truth. Eagle-eye watchers who prefer to examine scenes for what isn’t being shown directly will have fun here, but beyond that, audiences are slowly forced to face truth, subjectivity, and perspective as the movie rails on.

At the risk of saying too much, what’s special is how this movie discusses subjective truth and the perspectives of women, especially how they are squashed in larger conversations. “Maybe it’s all just a lie,” and “what if it’s the truth?” mark the final scene and were left seared into my field of vision as the finale pressed on. Burning’s Rashomon style tale so well examines the idea in a way that will ring relevant for most anyone on any side of any border.

But it does so without ever forgetting that it’s a horror movie. In ways reminiscent of Rear Window or Attachment in how it lets the horrors exist while characters might be unreliable or misinterpreting what’s in front of them. There are hard to watch gross-out scenes, djinn focused and other religious frights, and the scares one might associate with Rosemary’s Baby. Everyone has a turn at playing the monster, even those just recounting the tales as told to them.

Burning is the festival movie that utterly surprised me, showing up unsuspectingly as a haunt about a witchy mother-in-law and her immature charges as told through the eyes of gossips. As its story pressed on and the horror escalated, my expectations were delightfully subverted and I was left well-fed by such a rich horror story.

Burning played at the Fantasia Film Festival

Fantasia 2025: ‘Hellcat’ Leaves You Wondering Who is Infected
Hellcat Movie Still
Blue Finch Films

You awake to find yourself jostling around in a trailer. A disembodied voice emanating from a disembodied canine head informs you that you’ve been infected, and you’re on a clock to get to the only doctor who can help you. Stay calm lest you make it worse.

Lena (Dakota Gorman), a no-nonsense resourceful woman, does what we probably hope we’d all do and struggles to find her way out of the moving trailer using her wits and the random items tossed about her new cage. Lena concedes she is struggling physically, but it’s because of her pregnancy and not due to the mysterious infection the voice of the driver insists she has. The clock is ticking as Lena moves farther away from any civilization in which she belongs, and without her phone or a clear view to the outside, she is running out of time and completely at the whim of a ruthless driver who insists what he is doing is to keep her safe.

The chamber piece, or single location horror, becomes a battle of wits on the open road that leaves Lena struggling for a way out while also struggling with what is happening to her body. While the idea of a trapped person trying desperately to figure out what is happening while using limited items available to them feels much like Oxygen or Buried, Hellcat has even more in common with 10 Cloverfield Lane as the audience and lead struggle to decipher if their captor is helping them, trapping them, or a bit of both. Clive (the driver played by Todd Terry) is balanced but desperate and reads sometimes like a paternal character doing his best, but his best comes by way of threats, drugs, and off-screen violence.

Hellcat is mostly simple which can feel stretched in for a feature film runtime, but the powerhouse performance by Gorman makes the excursion an event. Almost all of the movie’s emotional weight comes from the lead’s stellar performance, one that’s peppered with extreme physicality.

Writer and director Brock Bodell has made a movie, like the aforementioned Cloverfield installment, which intentionally leaves the audience guessing. As Lena makes her way around the trailer while at the behest of Clive’s small cues, the audience is meant to attempt to decipher what caused Lena’s bite and why Clive is so insistent on his actions. The movie only gives the audience the information it wants them to have, and does so with breadcrumbs and in waves, then asks them whether they would subscribe to the same conclusions as Clive. It’s a fun game that makes it worth looking through the leads and into the background.

Hellcat is a stripped-down horror tale meant not to be slotted into a category until its larger reveals become broadly known in the zeitgeist. Its horror comes from toggling the true imminent threats and having its lead struggle along with the audience to decipher the real enemy.

Hellcat screened at the Fantasia Film Festival

The Long Awaited ’28 Years Later’ is a Tender Tale of Manhood at War
Miya Mizuno/ Sony Pictures

It’s almost difficult to slot the latest Danny Boyle horror instalment beside legacy sequels. Yes, it’s a long-awaited sequel of a rotting franchise, but there is no sense of reinvigorating the old or rehashing any updated storylines here. The third installment of the 28 movies comes in at about twenty-two years after the original and while it shares much in common with stories like Fallout or The Village (read: Running Out of Time), it pivots from a speedy sprint away from the infected to a slow walk into humanity.

It’s been fewer than thirty years since the rage virus ravaged parts of the UK, and a colony of survivors have set up a gated village on an island in the Scottish Highlands. They are a quarantined zone, living in a pocket world cut off from the rest of the planet which has moved on from the pandemic. The people of this area have regressed to the likes of pioneers in almost a primal retraction to medieval villagers. Like the greatest of zombie features, it taps into the fantasy of a world where the only worry is survival, this one without technology or AI, none of our politics or economic worry, just the early goal of returning from war and joining industry. Here, young Spike (Alfie Williams) lives with his seasoned father (Aaron Taylor-Johnson) and ill mother (Jodie Comer). Spike is of a generation who has never seen beyond the walls of the fortified village but is forced to learn some real-world lessons when the pre-teen is taken by his father on his first visit to the mainland. There, Spike encounters the infected and is forced to defend his life with a quiver of arrows and his father’s paternal instincts. Disenfranchised and spooked by his ordeal and his father’s version of recovery, the young boy decides to visit the mainland again, this time only with his ill mother looking to pivot from being a soldier and hunter to a saviour and protector. Framing the rest like a road trip, 28 Years Later becomes a somber and tender story of a young boy choosing his own version of manhood. One who is forced to do so in place abandoned by the world and where fear is the only thing keeping people alive.

It’s a surprising turn for a sequel to films known for their high-octane scares. The fast-transforming and fast-moving zombies of this universe function to increase the tension and leave it at a lingering hum even during the quietest moments. But instead of making bigger, scarier, more monstrous infected (or instead of only doing that) Danny Boyle and Alex Garland (director and writer, respectively) chose to examine the fallout of such a pandemic and war, comparing Spike and his father to the sorts of men made by wars and global crises. The 1903 poem, “Boots,”- which was also used hauntingly and effectively in the trailer- about the Boer War is used early in the film. Throughout, there are interjections of scenes of other historical wars and soldiers. 28 Years Later is effectively an examination of a child learning manhood in a world that needs a specific version of it from him and choosing to forge his own path. Having spent most of his life under his father’s tutelage, his viewpoint is changed when he encounters a soldier, a doctor, an apparent cult leader, and versions of men who can teach him something different about who he can choose to be. The sum of it becomes a sweet tale of growth that imagines the weight carried by those on the front lines of or left behind by a crisis.

Stylistically, it’s a marvel what Boyle was able to do with a 2025 instalment of a franchise known for the aesthetic crafted in the early 2000s. Yes, he used the iPhone camera with some technology boosters, but the design and appearance also create a visual throughline. Out of the gate with a haunting cold open of children crying while watching Teletubbies, the movie is sprayed with a UK punk aesthetic. The movie doesn’t quite smell bad, but you sense that it’s all-over musty. The dizzying and frenetic edits keep the movie feeling like the guerilla blood fests you remember from 2003 and 2007, but it still fills the borders of a modern silver screen.

Where the zombie pandemic fantasy has often been about a world without modern stresses, 28 Years Later is coming on the heels of a real global pandemic that saw us retaining modern stresses which would eventually become exacerbated. It’s a tall order to examine such a thing, and perhaps why we’ve not seen any “world comes together to fight the evil,” zombie movies since 2019. Boyle and Garland’s story, instead, imagines the tears in such a fantasy, positing a world where we might regress into the likes of the Trojans or the Vikings, where instead of effectively working together to save the world, we’d send young men to the front lines and expect them to trade their lives for a version of manhood that supports someone’s idea of the greater good.

28 Years Later hits theaters June 20th, 2025

‘It Feeds’ is the Off-Season Sport for Fans of Jump Scare Greats
Black Fawn Distribution

The opening of It Feeds sometimes seems at a hint to the ending, but that’s only because it’s so reminiscent of another story about a supernaturally gifted cleanser of evil spirits. The cold open has its gifted psychic therapist working her way through a darkened world on another plane and witnessing a beast seemingly trapping a young child. It’s a lot like the finale of Insidious. This original Canadian horror feature has a lot in common with the great modern horror franchise, but it doesn’t seem to want to compete with it so much as stand proudly beside it.

Ashley Greene leads as Cynthia, a psychically gifted therapist who performs supernatural cleanses on her clients under the guise of offering traditional mental health care. As a way of protecting herself and her daughter (Ellie O-Brien) from prying eyes or those experiencing difficult demons, she has a set of rules to prevent letting their secrets out or bringing too much supernatural hazard in. When they meet a frightened young girl covered in burns who begs for Cynthia’s help and her garish father (Shawn Ashmore) who refuses it, they face an ethical dilemma where they have to decide if they should help her and potentially expose themselves to danger, and whether they should heed the warnings of the sharp patriarch.

 The rules of Cynthia’s practice are quickly established, but so are the rules of the movie’s in-world villains. It’s smart and makes for consistent storytelling where the stakes and dangers are always clear to the audience. Of course, it all comes down to cheering on Cynthia to slowly make the decision to assist, which requires the film to bring the danger closer to her. Cynthia has reasons to be reluctant and her daughter has reasons to push her, so they’ll each have to face or avoid the dangers on their own until Cynthia has to metaphorically suit up.

Writer/ director Chad Archibald knows his audience and knows his genre and either pays a lot of homage to it or borrows heavily from it. While the comparison to Insidious is apt and worn on the film’s face, it also has some plot elements that feel like Let the Right One In or even The Omen. The girl’s father’s motivations are difficult to track which makes for a clever secondary villain when different characters have different ideas about how to best a dark entity. It’s in these “disagreements” that It Feeds becomes more than another in the canon of demon jump scare movies.

Canadian horror fans will rejoice not only at another on our list of horror successes, but at the gaggle of Canadian genre icons like Ashmore, Julian Richings, and Juno Rinaldi (probably more of a comedy icon but I still cheered at her appearance). It’s still a good time to be a Canadian horror fan, and It Feeds is here to remind us.

It Feeds has a lot of unique elements that make it a worthy twist on familiar skulking-dark-entity horror, but in a lot of ways is a truncated version of those movies. It holds its own on plotting and scares, but much of it will feel familiar to fans of the canon of James Wan. Though I don’t expect it to spark its own long-running franchise of spinoffs and sequels, I do expect to see more from Archibald who could submit It Feeds as quite the impressive reel in a campaign to direct more like it.

It Feeds hit select theaters in April of 2025

‘825 Forest Road’ is as Imperfect and Endlessly Cozy as Stephen Cognetti’s Other Spooky Movies
AMC Networks

Maybe “cozy,” isn’t the first word that comes to mind when thinking of the Hell House LLC franchise, but they certainly fit the bill for lots of horror fans. In a take for another piece and another day, Stephen Cognetti’s found footage movies tap into that coziness sweet spot of parallel play and immersive theater (even in a meta way in the third installment). Veering from the found footage style, Cognetti’s latest, 825 Forest Road, holds onto the cozy spooky air of his earlier films. But with that, comes some of the usual missteps.

Similar to the Hell House LLC movies, 825 Forest Lane is location based and involves a haunted menace attached to a particular home. This is the home that Maria (Elizabeth Vermilyea who will be familiar to franchise fans) and Chuck (Joe Falcone) are moving into with Chuck’s struggling sister, Isabelle (Kathryn Miller). Chuck is attempting to swoop in for Isabelle in perhaps an attempt to reconnect with her after she suffered the loss of their parents. Shortly after relocating to the too-good-to-be-true home away from the bustling city, the group starts to notice strange goings on and prying eyes from concerned neighbours. Chuck starts to investigate the story of Helen Foster, a ghost who haunts the area, pushing its residents to suicide. With Isabelle as a risk for self harm, the group works to find the location of Helen Foster’s missing home at 825 Forest Road to break the curse before it comes for their small family. Told in small parts- from each of the main characters’ perspectives- the audience learns more about how they have arrived at the cursed locale and how they are trying to protect themselves and each other.

The multi-perspective structure isn’t quite Rashomon, but it functions well enough to give the audience breadcrumbs about what is happening in each of the characters’ rooms, though it cuts off some story elements for no real narrative reason. It pays off the most for the leading women when the story ends up a bit of a tale of supporting each other. If I were perhaps to give it too much credit, I’d nod to the feminist subversion of the perspective switch in how it tosses out the lead skeptic of the bunch in favour of a new view of the women supporting each other in their difficult experiences. Then there’s the “mental illness horror” of it all, which isn’t completely egregious but probably is tired and potentially objectifies the issue by using it as an easy entry point. It’s ideas about suicide and depression are potentially outdated, but they do tap into similar themes from movies like Smile about suicide as a contagion and depression befalling a generation of young people.

While this is his first feature outside of Hell House LLC, it’s very much a Film by Stephen Cognetti. Yes, there’s the haunted locale, but there’s also a lot of familiar scares including live streaming gags, moving mannequins, and creepy piano tracks. The haunted home locks them in to torment them, and there is the deterministic plot built around the characters’ old art. So, this movie isn’t breaking any molds nor is it a campaign for the creator’s versatility, but it is perhaps more evidence that his movies can adapt a familiar style to make more media for those looking for a comforting fright. It has the same quality of Things Heard & Seen where it perhaps doesn’t all stack up to a flawless narrative, but it allows for the sweater-clad-tea-sipping comfort of someone bopping around a small town thinking about a ghost. The Hell House LLC movies often forecast their own scares with talking heads which allows the audience to comfortably brace for scares that feel like controlled burns. 825 Forest Road is a feature length version of that.

So, will this latest Shudder haunted house have you begging your friends to fall in love with the newest ghost, or making comparisons to the best of Mike Flanagan’s work? Perhaps not. But if you’re the type of person who likes the terror that comes with invisible guard rails and the right amount of nightmare fuel, 825 Forest Road is shrieking to be added to your regular list. What can I say? I’ve already watched it twice.

825 Forest Road streams on Shudder April 4, 2025

‘Novocaine’ Wants to Remind You of When Action Movies Were Fun
Jack Quaid as “Nate” in Novocaine from Paramount Pictures.

That’s not to say that directors, Dan Berk and Robert Olsen, are the only ones out here trying to thrust movie watchers back into the action movies of yore. Michael Bay and Doug Liman have been trying the same with films like AmbuLAnce and Road House. So with a surprising twist on the action comedy toned with splatstick comes Novocaine, a blood-soaked action comedy that breaks through the chains of midnighters.

Jack Quaid and his overflowing charm lead as Nathan Caine, the mild-mannered bank assistant manager living his life within the confines created by his condition. Caine can’t feel pain, so to avoid any life-threatening accidents, he lives life in a box made of smoothies (he could bite his tongue if he chews!), watered down coffee, and tennis balls acting as metaphorical and literal guardrails. Caine’s life finally gets tastier when he meets Sherry (Amber Midthunder), a colleague with a forkful of cherry pie and a whole other experience with self-inflicted pain. When their bank is robbed and Sherry is taken hostage, Caine uses his condition as his superpower and takes every kick, punch, bullet, and burn with ease and valour so he can rescue his dame.

The simple set up sends the every-man into the underworld fray, but Novocaine is more than just an average Joe taking on unreal baddies. It takes that premise and mixes in some gnarly gore (with this and The Monkey, those of us who laugh at good gore are having a great year), and a host of tropes that feel ripped from 80s action films. Its early reveal is massively forecast but simultaneously difficult to see until you clue into the sort of film you’re watching. Its gory midsection is sometimes tiresome but does its best to stay fresh, then the third act barrels into throwback action that’ll leave a queasy audience ready to cheer.

Novocaine almost never asks you to take it seriously which is to its own detriment. Dancing a little bit too close to parody, it stuffs the film with a comedy version of a cliched cop partnered with a serious version of one who still seems completely inept at police work. Pit them against the world’s dumbest and most brash bank robbers (seriously, they could learn restraint from the robbers in Point Break), and I guess you can see why the skinny bank manager would take this battle on his own.  It makes the lore of the cops and robbers difficult to buy into and sucks some of the comedy out of Caine’s splatter parade by being a bit too dumb. It’s perhaps worth it to see Ray Nicholson go full Bodhi but he is not given room to be Sonny Wortzick.

While it’s tempting to compare Novocaine to the other average Joe movies that succeeded John Wick, it’s much more on a plane with Baby Driver and Boy Kills World where a guy with a particularly special skill takes on larger than life villains with a specific motivation, the whole affair being brightly lit with saturated colours (that really make that red blood pop). Novocaine isn’t the next in line of average Joe shot-em-ups, it’s a reminder of a time where the best movies had action stars dangling off the sides of a city bus.

Novocaine hits theaters March 14, 2025.

HOLLYWOOD SUITE Releases their Shocktober Lineup

Canadian cinephiles’ favourite streaming service is back with their holiday (spooky season, that is) programming. Beginning October 1, Hollywood Suite will have their full Shocktober lineup available for channel surfing and streaming (your choice of consumption may vary).

Check out the full list of titles which will be on demand this October on Hollywood Suite with my Hot Picks noted in bold.
(I watch The Guest every Devil’s Night so that one is a no-brainer)

30 Days of Night (2007)Prince of Darkness (1987)
A Nightmare on Elm Street (1984)Ouija: Origin of Evil (2016)
A Nightmare on Elm Street 3: Dream Warriors (1987)Peeping Tom (1960)
Black Christmas (1974)Pan’s Labyrinth (2006)
Blacula (1972)Saw (2004)
Blade (1998)Scream (1996)
Carrie (2013)Seed of Chucky (2004)
Christine (1983)Sinister (2012)
Crimson Peak (2015)Texas Chainsaw Massacre: The Next Generation (1995)
Critters (1986)The Evil Dead (1981)
Don’t Look Now (1973)The Fly (1986)
Evil Dead (2013)The Guest (2014)
Fright Night (1985)The Innocents (1961)
Halloween H20: 20 Years Later (1998)The Omen (1976)
Halloween III: Season of the Witch (1982)The Purge (2013)
Halloween: Resurrection (2002)The Return of the Living Dead (1985)
House on Haunted Hill (1959)The Serpent and the Rainbow (1988)
Interview with the Vampire (1994)The Texas Chainsaw Massacre (2003)
Jennifer’s Body (2009)Tim Burton’s Corpse Bride (2005)
Killer Klowns From Outer Space (1988)Urban Legend (1998)

‘Twisters’ is the Blockbuster for a Blustery Summer
(from left) Kate (Daisy Edgar-Jones) and Tyler (Glen Powell) in Twisters, directed by Lee Isaac Chung. © Universal Pictures, Warner Bros. Pictures and Amblin Entertainment by Melinda Sue Gordon
(from left) Kate (Daisy Edgar-Jones) and Tyler (Glen Powell) in Twisters, directed by Lee Isaac Chung.

I’ll contribute to the collective answer to the million-dollar question: is Twisters as good as 1996 masterpiece, Twister? The short answer is, it’s not. But that doesn’t mean it isn’t absolutely rad.

2024’s not-quite-follow-up and maybe-not-a-remake either, Twisters is gracing early summer silver screens begging to be the blockbuster that drags audiences into theaters with the promise of jampacking the room with enough bombastic sounds that we can all munch our popcorn freely. Where it faulters in story and character, it succeeds in action chemistry, doing it’s best to compete with 1996’s alchemy. 

Most nothing can mimic the magic of the original cast braving the wrath of the ultimate movie monster (weather), but Glen Powell and company are going to do their best. Twisters differentiates itself by not quite slotting new actors into the same roles. It, instead, chucks them all into a blender (which isn’t quite wordplay, but I’ll leave it to your imagination to give me credit for a twister, blender, vortex gag) and creates new character hybrids where each is a mashup of some bits of characters we’ve seen before. (Is The Fly a better reference? Whatever). Daisy Edgar Jones stars as Kate, a storm chasing natural with a traumatic tornado backstory and an uncanny talent for reading the weather. So a bit of Jo and a bit of Billy. She’s pulled back into the field from her cushy New York desk job by Javi (Anthony Ramos), who needs her to assist his shiny corporate real estate company in tornado research and because he might love her, like a bit of Jonas and a bit of Jo. Interrupting their polished scientific adventure is Tyler (Glen Powell) and his scrappy gang of merry men who wrangle twisters for YouTube, fanning the flames of internet hobbyists looking for a thrill and crowding the road. Taken by the newcomer, Tyler becomes preoccupied with Kate and her instincts, sending the rival factions in and out of storms and taking in the damage their muses do to small town Oklahoma. Loyalties change, crushes form, and spooky clouds break through the sky and flick houses off the map.

With intentionally flimsy connections to the original (save for a reference to the same real-life science inspiration), this feature doesn’t directly connect the films in any way to warrant an easter egg hunt nor to force them to or away from any repeated beats. Dialogue and moments are lifted and referenced, the film treading much of the same territory, but making it bigger, louder, and with even more fire. That’s where it’s most successful, when it sends our leads with their broad arms and fitted shirts into storms, having them shout over explosions with varying levels of ecstasy and fear. That’s what makes Twisters an enviable and rip-roaring summer hit. The rest of it is mostly science bologna.

There’s something about polymers and rainwater, and more about the scant and valuable data all part of the elusive goal of understanding and killing tornadoes. Its these lofty goals that bond the leads and has them clunking heads in barns and trucks as brief relief between action set pieces. Though Maura Tierney’s introduction as Kate’s mother is welcome respite (with her unmatched natural comedic timing), it serves as a catalyst for Kate and Tyler bonding over notebooks which has far less electricity than a chanting Philip Seymour Hoffman. At the risk of continuing to belabour the comparison, the core palpable different between the two films is that where one leaned on various genres successfully, Twisters is more simply an action film, one much more in the vein of road trip action like Civil War than of the goosebump inducing horror of Billy stating, “it’s already here.”

The 2024 film about increasingly alarming weather and new technology democratizing many careers is touched upon but not explored, it not interested in tackling climate change or floods of internet hobbyists who think they understand complex science. Javi and co are minorly perturbed by the rise of the YouTuber but it’s never a barrier for them and serves only to prop up Tyler as a hollow hero. It’s somewhat preferable, this movie succeeding as a popcorn thrill ride not concerned much with conflict beyond “there is a really big tornado coming,” despite how noticeable it is when someone casually notes that tornado frequency seems to be increasing.

Emotional beats are not the strength of this bad boy, it missing something in the score (which is slightly different but reminiscent) and lacking the awe of ruthless mother nature. No one is acting at the top of their game, Powell’s outstretched arms clutching steering wheels doing a lot of the work to create some character energy. Twisters isn’t that movie, it’s the high-heat blockbuster that leaves audiences shouting wrangler slang riding the high of seeing hot people yeehaw over fireworks being shot up the funnel of a superstorm.  

Twisters hits theaters July 19, 2024.