Twister

One of the most respected authors in Hollywood, Linda Seger once explained the function of a character confidante as “…someone the protagonist reveals dramatic information to; but they function, in actuality, only as an excuse for giving information to the audience.” For screenwriters this moment is referred to as exposition, where certain particulars of the plot must be directly spoken by the characters. Considered the most difficult aspect of the writing process, the best screenwriters must continually find unique ways to overcome this creative obstacle. One of the best examples can be found in Lethal Weapon, where scribe Shane Black chose a firing range for his lead characters to exchange exposition. While the audience is largely focused on the humor in the scene, Black is able to provide the needed information without being “on the nose” (dialogue without subtext).

The worst example of exposition can be found in Twister, where a character confidante is used in the most jarring way possible. Played by Jamie Gertz, the grossly underdeveloped Dr. Melissa Reeves exists solely to provide technical information to the audience. With proper dialogue moving aside for dull inquisitive statements, the reason for Melissa's entire cinematic existence is to ask: “Honey, what's an F-5?” Then the protagonist is freely able to lecture her (and thus the audience) about every aspect of the plot. Whenever the screenplay comes up against a technical moment, Melissa is inevitably around to inquire: “Honey, what's that machine do?” So dire is the writing in Twister that the very moment the last bit of exposition has been given to Melissa, her character is simply written out of the story. This conveniently leaves the entire third act free for long stretches of endless digital effects.

Not unlike the underwritten macho warriors of Armageddon, the characters that populate Twister exist completely as screenwriting templates: The Funny Fat Guy; the Anal-Retentive Guy; the Hippy Guy; the Evil Corporate Guy; etc. One can almost be forgiven for viewing such tired creations as nothing more than literary trading cards. “Oh, goodie! What does your movie have? Mine has Crazy Guy!”

Fortunately, there are some points of interest in Twister. The opening flashback is a perfect visual stepping stone to the rest of the film, while the eye-popping climax is realized to giddy perfection. But connected to these choice bookend moments is a film utterly without heart, with action sequences strung together by long montages of trucks driving fast through the countryside. Taken in this light, wouldn't Twister be the most expensive Chevrolet commercial ever produced? Now I just need Melissa to have that question answered for me.

--Yim Kip

The Official Twister Web Site

www.movies.warnerbros.com/twister/

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Twister was a good movie by Melanie RATING: *** I really enjoyed Twister. I especially liked the scene when the cows were caught in the Twister. I thought that was cute! Helen Hunt and Bill Paxton made a great on scene couple.	It was great
I'd get more enjoyment watching the weather channel by Lucas RATING: * Twister was great. If you like shitty, boring movies, with a plot that makes you want to slit your wrists in two directions. I would rather have my testicles hammered to a sheet of ply wood with an entire crate of railroad ties then watch Twister again.	Forget about it

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