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

Story: Saloni Bagga (Triptii Dimri) gets pregnant with twins conceived through a rare phenomenon, heteropaternal superfecundation, which means there are two biological dads. In a hilarious rivalry, the would-be papas compete to win her heart and fatherhood. Whom will she choose?

Review: In the laugh riot that comes after Good Newwz (2019), Saloni Bagga dreams of culinary stardom and resists her mother’s marriage pressure until a whirlwind romance and marriage with Akhil Chaddha (Vicky Kaushal). While she craves career glory, her husband longs for a family, as his carefree attitude creates friction in their relationship. An incident throws her dreams and job into disarray, forcing them to acknowledge their incompatibility. Divorce ensues, and Saloni seeks a fresh start in Mussourie. There, she has a one-night stand with her boss, Gurbir Pannu (Ammy Virk).

Fate throws another curveball: Akhil reappears, and on the same night, things get tangled again. Six weeks later, a bombshell drops—Saloni’s pregnant with twins, and a paternity test reveals both Akhil and Gurbir are fathers! This unexpected twist sets the stage for a side-splitting battle between the two men, each vying for Saloni’s love and a shot at fatherhood.

Two heroes in a comedic duel for the heroine feels like a familiar rom-com setup. The plot might not surprise you, but the film shines in its outrageous humour. While the script and screenplay remain on uneven ground, director Anand Tiwari and writers Tarun Dudeja and Ishita Moitra understand that laughter is the key ingredient. Jokes and one-liners (by Dudeja) pepper the narrative, ensuring you’ll chuckle even after a supposedly serious scene. The film feels light and breezy, with the cast seemingly having a blast themselves.

Highlights include hilarious self-referential jabs at Karan Johar, from Akhil’s (Vicky Kaushal) possessiveness over a Katrina Kaif poster to Gurbir’s deadpan declaration that he’s “no Manmarziyan’s Vicky Kaushal” (referencing another Kaushal rom-com). These playful nods at Bollywood tropes add another layer of amusement and will crack you up.

The film’s pacing suffers from a rushed first act, as Akhil and Saloni’s romance, marriage, and subsequent split feel underdeveloped. Similarly, Saloni’s fling with Gurbir lacks depth and is unconvincing. While the soundtrack boasts catchy tunes like Raula Raula, Mere Mehboob Mere Sanam, and Jaanam, their rapid-fire placement disrupts the narrative flow. Repetition in comedic situations and a predictable plot further hinder the film, especially in the second half, which feels overstretched.

Vicky Kaushal shines as the self-centred and loud Punjabi who eventually undergoes a satisfying character arc, learning to prioritise Saloni’s dreams. His impeccable comedic timing and energy are matched by Ammy Virk, who holds his own as Gurbir, the other more polished father figure in the chaotic equation. The best scenes are between the duo and their strong chemistry enables the comedy to roll out effectively. Triptii Dimri looks pretty and pulls off emotional scenes but struggles with comedy.

With a hilarious premise and two funny men, this one’s a laugh riot. Even when the plot takes a familiar turn and stretches, the witty dialogues and spot-on comedic timing from the cast ensure you’re consistently entertained.