NEW YORK (OSV News) – Back in the early days of the Ford administration, disaster movies were all the rage. A capsized cruise ship, a skyscraper aflame, airplanes imperiled — the genre ran the gamut of mishaps before fading away at the end of the 1970s.

Two decades later, advances in computer capabilities led to something of a revival, one product of which was 1996’s “Twister.” Director Jan de Bont’s film had separated spouses Helen Hunt and Bill Paxton working through their marital tensions while trying to make a breakthrough in early storm warning.

Flash forward nearly 30 years and a standalone sequel, “Twisters” (Universal), looms on the horizon. While moviegoers need not take shelter from this long-distance follow-up — which is only loosely connected to its predecessor — neither will it transport them over the rainbow.

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.

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.

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.

The film contains some medical gore, several mild oaths, occasional crude language and a couple of crass terms. The OSV News classification is A-III — adults. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

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In the last 14 years, Gru has certainly been through a lot. The reformed super villain put aside his dastardly ways to become a family man, and now sits pretty with three “gworls”, a wife, and a bouncing baby boy. Life couldn’t be better for the bald-headed former bad guy, but some habits die hard. Such as the desire to embarrass his villain school rival causing said rival to swear revenge against Gru and his entire family, forcing them into their most frightening challenge yet: Life in the suburbs.

Taking the socially awkward Gru and placing him in scenarios where he has to act like a bumbling sitcom dad is a fine premise for the fourth instalment in the Despicable Me franchise. Unfortunately the movie compounds the conceit by adding Gru’s desire to connect with his newborn, as well as turning the moronic minions into superheroes. There’s also the neighbour’s daughter, whom Gru takes under his wing to teach her his ways of thievery and deception.

Too much story spoils the cinematic experience, especially when the film grinds to a halt just to give the minions an opportunity to spout mindless jabber and engage in antics. It can’t be understated what a blight the minions are to the senses, but credit where credit is due: their newfound abilities give the movie a chance to showcase some slick animation and, admittedly, laughs. However, this doesn’t change the fact that Despicable Me 4 lacks a sense of necessity. Nothing that occurs in the film feels very consequential, and despite seemingly taking the characters in new directions, it ultimately feels like more of the same.

I can’t say I would ever watch this film of my own volition, but I must admit it’s not exactly made with me in mind. For the intended audience, they’re sure to be pleased paying full price, or at least asking their parents to. For myself, there’s enough to enjoy to warrant seeing it in the cinema, but only at a discount. A few roller coaster sequences are genuinely entertaining, and for the target audience of kids in 4DX cinema, it was a thoroughly engaging experience from start to finish.

Rating: Half Price

Damian Levy is a film critic and podcaster for Damian Michael Movies. entertainment@gleanerjm.com

Eddie Rosenblatt, the longtime president of Geffen Records who signed John Lennon and built a roster of rock and alternative acts including Guns N’ Roses and Nirvana, died of pneumonia on Tuesday at a Santa Barbara hospital surrounded by family, his son Michael told The Times. He was 89.

The executive, nicknamed “The Chief,” first made a name for himself during his decade-long stint at Warner Bros. Records in the 1970s, where he was mentored by industry titan Mo Ostin. He partnered with David Geffen to launch Geffen Records in 1980 and was appointed president of the label, which made immediate waves within the industry.

Just weeks before Lennon’s death, Geffen Records released Lennon and Yoko Ono’s “Double Fantasy.” The label also signed Elton John and Donna Summer.

During the company’s early years, Geffen and Rosenblatt saw success with records from Peter Gabriel, Don Henley and Neil Young. They also oversaw the debuts of supergroups Asia and Quarterflash.

As Geffen Records grew, the label built a strong hard-rock portfolio with Guns N’ Roses and Whitesnake. The company’s DGC offshoot included bands Nirvana, Hole, Weezer, Beck and Sonic Youth.

Rosenblatt remained president of Geffen Records after it was sold for $550 million 10 years after its inception to MCA. When Geffen left his namesake company in 1995, Rosenblatt continued as president and also became chairman.

“With Eddie at the helm I know the company is in good hands,” Geffen told The Times when leaving the position. “Eddie has been my partner since the day we opened Geffen Records, and I feel great pride in passing the torch and watching him take over this amazing company we created.”

The company made half a billion dollars in album sales in 1994.

“If you think of David as the vision behind Geffen Records, then Eddie is the heart,” Ostin told The Times. “That label is not just profitable; it’s got hipness and heat, and Eddie is the glue that has held it together all these years.”

In 1998, Rosenblatt retired after 40 years in the industry.

Born in Queens, N.Y., Rosenblatt earned his bachelor’s degree from Brooklyn College, served in the U.S. Army and completed Macy’s management training program before making his segue into the music industry in 1958. He started what would be his decades-long career at Cosnat Distribution and Mainline Distribution in Ohio.

He eventually moved to Los Angeles, joining A&M Records as a sales director. Later, he co-founded TA Records with film producer and director Steve Binder, most notably releasing Seals and Crofts’ debut album.

Rosenblatt is survived by his four children, Michael, Steven, Peter and Gretchen; six grandchildren; and one great-grandchild. Bobbi, his wife of over 60 years, died last year.