Twisters Fans Up in Arms Over Cut Scene

WARNING: SPOILERS AHEAD
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Twisters fans fumed that director Lee Isaac Chung should be ‘called before Congress’ as they discovered that a huge scene was cut from the disaster film.

The American film follows storm chasers Tyler Owens (Glen Powell) and Kate Carter (Daisy Edgar-Jones) as they meet their biggest tornado yet.

Tyler and Kate form a close relationship amid the chaos, and their relationship culminates in a sweet airport kiss – which cinema-goers never got to see after the film finally hit cinemas on Friday.

The standalone sequel to 1996’s Twister has already made an estimated $200million at box office and has received generally positive reviews.

However, fans of the Warner Bros. Pictures film took to X, formerly Twitter, to express their disappointment at missing out on the kissing scene.

Twisters fans fumed that director Lee Isaac Chung should be ‘called before Congress ‘ as they discovered that a huge scene was cut from the disaster film

Released in July, the American film follows storm chasers Tyler Owens (Glen Powell) and Kate Carter ( Daisy Edgar-Jones ) as they meet their biggest tornado yet

Tyler and Kate form a close relationship amid the chaos, and their relationship culminates in a sweet airport kiss – which cinema-goers never got to see

Disappointed viewers wrote: ‘WHY DID THEY CUT THE KISS’;

‘Was surprised that glen and daisy’s characters didn’t kiss at the end but then I found they DID film a kiss but it got cut… RELEASE THE FULL CUT LEE ISAAC CHUNG!’;

‘THEY CUT THE KISS IN TWISTERS?!!? This movie has no b**ls, guys’;

‘THIS FAWKING KISS WAS NAWT IN THE MOVIE… LEE ISAAC CHUNG WHAT IS YOUR PROBLEM WITH ME SPECIFICALLY’;

‘I need Lee Isaac Chung to be called before Congress and asked about this’;

‘Idk why they did that it was the perfect ending, I saw a test screening back in march and they had this scene’;

‘Probably my biggest complaint about the film is the lack of intimate catharsis with GlenDaisy’;

However some had a different perspective, writing: ‘I think it actually works that they don’t kiss at the end of Twisters… chasing tornados is better than sex for these hooligans’;

‘That wasn’t part of the film, Glen just has the effect on his costars. He’s kissing his way through Hollywood babes’;

‘Saw Twisters. Better than I expected. Excellent effects and hilarious moments, a little over dramatized on the tornado part, BUT I’m glad that there wasn’t some cheesy kiss between Tyler and Kate. I hate the expectation that the guy and girl fall in love at the end, lol.’

The standalone sequel to 1996’s Twister has already made an estimated $200million at box office and has received generally positive reviews

Fans joked that the film’s director Lee Isaac Chung should be brought in front of the US congress as punishment for no kiss, but some fans preferred the film without it

Twisters has been branded the ‘blockbuster of the summer’ by critics as the tornado movie sweeps into cinemas almost 30 years after the original.

Normal People’s Daisy and Top Gun Maverick’s Glen’s film has been lauded ‘the best cinematic experience’ since 2022’s Maverick which raked in $1B at the box office.

The film’s killer tornadoes ripping through Oklahoma are plainly the equivalents of Godzilla or alien invaders or the Great White in Jaws, especially as nobody, not even crack meteorologist Kate seeks to explain them as, just possibly, a consequence of climate change.

That said, Lee Isaac Chung’s film thunders along with impressive verve and energy as Kate, seeking redemption following a tragedy five years earlier by attempting to show that tornadoes can actually be shrunk by scientific intervention, hooks up with a charismatic self-styled ‘tornado-wrangler’ called Tyler.

Twisters: What are the critics saying?

Daily Mail

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Brian Viner: ‘This might all be nonsense, but it’s very watchable nonsense,’

‘Director Lee Isaac Chung’s film thunders along with impressive verve and energy’.

The Standard

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Maddy Mussen: ‘Powell and Edgar-Jones are natural leads, with enough charisma to do it alone’

‘It’s a thrilling, smarter-than-it-seems blockbuster, not necessarily in its science but in its writing, action and tightness. So much so that people in my screening clapped at the end – something I haven’t seen in years’.

The Independent

Rating:< /span>

Clarisse Loughrey: ‘There’s such a feeling of solidarity and resilience in the air that it lends an otherwise chaos-dictated disaster spectacle a surprising touch of hopefulness’.

‘The callbacks [to the original] thankfully, are fairly minimal – but it’s still a comfortingly old-school affair, in which its CGI feels at home next to a host of traditional practical effects’.

The Telegraph

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Robbie Collin was full of praise and said the film was the best cinematic experience since Top Gun: Maverick.

The formula is so simple it’s amazing it ever fell out of fashion: everyday heroes you can’t help but root for (Edgar-Jones and the never-more-Tom-Cruise-like Powell are both magnetic’.

‘Time and again, [the film] deploys the classic Spielbergian trick of spending more time watching his actors react to danger – loose-jawed and lantern-eyed – than ogling the danger itself’.

The Guardian

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Peter Bradshaw pointed out the ‘fun film’ was ‘coy’ about mentioning climate change and its effects on our weather.

He concluded the tornado was in fact a metaphor for an orgasm in the budding romance between the two lead characters.

BBC

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Nicholas Barber: ‘Though it features charismatic actors and thrilling sequences, Twisters doesn’t have much plot – instead, like its predecessor, ‘it just has bland characters driving into bad weather, over and over again’

‘It’s a missed opportunity. Twisters isn’t bad, but a braver film might have admitted that addressing the causes of extreme weather might be more useful than throwing nappies at it’.

Variety

Owen Gleiberman: Twisters I felt like I’d already seen something exactly like them — and that when it comes to footage of actual tornadoes, I’d already seen something more incredible.

Twisters fun as parts of it are, is a movie where reality ultimately takes a lot of the wind out of its gales.