I swear I'm not making this up. Twister (1996) is getting a sequel, Twisters, with Helen Hunt expected to return.

It's very random but I'm super intrigued by this. Twister I believe started the big May OW before Memorial Day trend to unofficially start the summer that has continued to now (with it pushing into April as well). Deep Impact followed it in 1998, Mummy 1999, etc.

Twister made $242M/$495M worldwide. It had nearly a 6 multiplier. I also find it's first three weekends were crazy:

1) $41,059,405 $41,059,405
2) $37,093,440 -9.7%
3) $29,645,430 -20.1% ($37,966,706 4day).

I don't know why they didn't make a sequel sooner but with climate change I feel this could have a chance to do well though weather movies like Day After Tomorrow have been done. Twister was well received that could benefit from nostalgia, if even 28 years later. They definitely will make it more global centric to make more $ overseas.

https://deadline.com/2022/10/twisters-s ... 235147353/

Probably a flop based on recent disaster movies

Yeah this will flop. Nobody has actual nostalgia for Twister. Nobody quotes it, nobody cites scenes from it, nobody cares about Bill Paxton or Helen Hunt, it's just a huge movie from a time when it was unique and exhilarating to make a natural disaster movie feel so real. And particularly being in a time of climate change natural disasters, people will not want to escape to reality on the big screen. It just isn't a sequel-izable concept.

Yeah this isn’t going to go well.

Even in 1996 - Twister broke records and was second only to ID4 but it didn’t leave the same mark as other films of that year did. Yes there will be some nostalgic interest and advanced tech may make for interesting visuals but I doubt this will make more than $70m or so.

I also feel they're in a bit of a catch-22. If they go heavy on the whole climate change narrative, it's going to alienate the demo that would most likely return for the nostalgia; conservatives.

I think this is one of the nostalgia concepts that could actually do pretty well. Not $500m/1.5b well, but $250m/700m well

The tornado scene in Day After Tomorrow was so well done and over the top that I can't honestly remember the last tornado disaster movie after that, it's like no one bothered to top it. How do you top the scene with the maintenance guy opening the door and half the building is gone?

Still waiting for the Contagion like apocalypse movie post covid.

Twister 1996 went for less spectacle (i.e. 2004s day after tomorrow) and was more raw, bordering on scary at times (i.e. the opening and ending scenes). That is how you differentiate.

Twister was also pre-ID4, which happened to come from the same director as TDAT. Feel disaster movies completely changed once ID4 came out and seemed to follow that model to this day to varying effect.

Looks like Daisy Edgar-Jones will be lead and directed by the guy who made Minari. No Hunt.

Sounds good to me. I love her.

Think this has potential but the range could very well be $200M+ from low end to high end.

I still give Twister (1996) credit for one major thing which has kept up to this day, it spearheaded the first week of May launch of the summer box office season. Deep Impact followed 2 years later, The Mummy, Gladiator, Mummy 2, to Spider-man, etc. Then Fast franchise moved start of summer to April in 2009 and Marvel followed after that.

I think one thing that helped the first one is heartland appeal given how prevalent Twisters are there so I'm intrigued by Lee Isaac Chung as director here especially as he's from rural Arkansas and told of his story in Minari as somehow who's lived in a state often seeing them.

Twister's legs were also incredible for an OW of its size. $41,059,405 and pulling nearly a 6X multiplier with a $241,830,615 total. Finished #2 for the year behind only ID4.

I'm not sure I believe in a disaster movie in modern day but I like the actress and director choice

I'm getting Godzilla: King of the Monsters vibes. It'll be a crappy summer popcorn movie with too much emphasis on gender, race and comedy instead of effects and crafting intense action sequences. This sort of film needs a James Cameron-level filmmaker.