This was my film of the summer. After seeing this in the cinema for the first time, I went another three times, even seeing it in 4DX twice. Although I entered the film with admittedly very low expectations, I left the cinema with a newfound love for Daisy Edgar-Jones and Glen Powell. Although this may appear as only a simple action film but the beautiful story it tells about the poor people who suffer from the tornadoes in Oklahoma is emotive, bittersweet, and immensely watchable. The acting of Glen Powell and Daisy Edgar-Jones helps truly bring this film to life. Admittedly, when I went to see this film for the first time, I didn’t have very high expectations. But now it’s number three on my Letterboxd favourites list, which is quite a big switch-up.

The film opens on a group of college students hunting tornadoes to try and win a grant to support their tornado killing experiment, despite their enthusiasm and determination as the film opens this is quickly shut down as the tornado the group was tracking turns out to be far larger than originally seen on equipment, as it jumps from being an EF 1-2 to an EF 5 which is one of the largest sizes of tornado. As the team struggles to deal with this unexpected development, it ultimately ends with the tragic deaths of the majority of the student team, leaving only two survivors: Kate Carter (played by Daisy Edgar-Jones) and Javi (played by Anthony Ramos).

As Daisy Edgar-Jones is placed solo in the centre of the screen, the audience’s attention is automatically drawn to her and the desolate state she is in. As they are aware, she has just survived the massive tornado, which evokes a massive sense of pity towards the character. Additionally, the bleak, grey colouring of the scenery gives a further appearance of desolation and destruction. Edgar Jones’s costume further displays how the traumatic events have now affected her, as her previously bright yellow jacket is now ruined and stained, much like Kate’s life now.

Later in the film, when Javi has managed to convince Kate to fly back out to Oklahoma to help collect data on the tornadoes, to continues to attempt to find a way to destroy them strategically from the inside. As the film progresses, Kate meets self-proclaimed ‘Tornado Wrangler’ Tyler Owens (played by Glen Powell) and the rest of his crew. As it’s revealed that Javi’s crew is slyly profiting from the tornado tragedies, Kate makes a difficult decision and splits from that group.

The framing of this scene sets up a deep confrontation between Javi and Kate as it becomes clear there is still tension between the two concerning the deaths of their college friends years ago. As it’s revealed, Javi blames Kate for their deaths, as it was her science project that the team was out in the field for; ultimately, this leads to a second split within the team as Kate leaves again. The layout in the picture above places emphasis upon the idea of conflict between the pair, as their body codes (Argyle) present a stand-offish nature between the two; this can further be suggested as within the scene, neither of them makes any attempt at physical contact, suggesting there is a lack of connection between them, making it impossible for either to willingly or easily see the others perspective on this situation.

However, despite how upsetting this confrontation is for both Kate and Javi, ultimately, the aftermath of this disagreement is somewhat positive as it leads to Kate travelling back to her home in Oklahoma. As it’s been five years since she’s been home, this marks a huge turning point within the movie, allowing it to follow Syd Field’s three-act structure. This moment of the film could be identified as the Act Two midpoint, as the spectator sees Kate begin to struggle to achieve her initial goal (destroy the tornadoes before they can do too much serious harm). Additionally, this can be highlighted as the midpoint of the film, as rising action has just occurred, with the freak tornado incident occurring at the rodeo. As this incident places Kate in the perfect position to head home as so much has happened so quickly. Furthermore, with the growing importance of Glen Powell’s character, Tyler Owens, throughout the film it creates momentum to move into the third act.

As Tyler and Kate begin to work together on her old college project, it highlights the collaboration of new and old, hinting that Kate is slowly healing from the events years ago. This can be identified as Plot Point Two, as Kate and Tyler are now working together and drawing in elements from her past. This implies she is slowly learning to accept the past and embrace that she will always love chasing tornadoes and all of that is a massive part of who she is and always will be. The montage of Kate and Tyler trying and failing to perfect their tornado formula is one of my favourite moments within the film; not only does it highlight the growing bond between the two characters, but it also shows physical evidence of Kate’s emotional healing journey.

The end of the film showcases the full extent of how far Kate has come mentally and physically from the beginning of the film. When yet another freak tornado attacks a small, unprepared town, Kate, Tyler, and the rest of the wranglers go to their aid immediately. This highlights their selfless and caring natures as they were later joined by Javi; it further implies how Kate’s new presence in Oklahoma has had a positive impact on those in Oklahoma. As the tornado grows to dangerous and extreme proportions, the teams’ approach transforms into an attempt to push as many of the townspeople as they can into the movie theatre, as none of the buildings have storm cellars (WHY??). While they are doing this, Kate runs to Tyler’s vehicle, which has her tornado-killing experiment hitched to the back and without a second of hesitation, she drives into the tornado. This is a perfect callback to the beginning of the film; Kate still has no idea if her experiment will work, and again, she is trying it on an EF5 tornado. Despite the various minor injuries she sustains while driving towards the tornado, ultimately, Kate is successful, and she is able to save the town in the literal nick of time.

The journey Daisy Edgar-Jones’ character goes on throughout the film is truly commendable. Emotionally and physically, she is constantly navigating her way through trauma and change while still staying vigilant to her original interest in tornadoes. Ultimately, it can be argued that she conforms to a version of Caroline Heldman’s ‘Fighting Fuck Toy’ as she is an active, strong, and independent female character; however, she isn’t necessarily empowered with any traditional ‘masculine’ traits. However, this film undoubtedly passes the Mako Mori test as Kate’s storyline is the primary narrative and supports her rehabilitation and entrance into the world of tornado chasing.