Tornado is a stellar premise with middling results. Director John Maclean returns to familiar territory with this western after 2015’s Slow West. Newcomer Kôki is very capable of carrying the film, ᴀssisted by Shogun alum Takehiro Hira. The film does a serviceable job of creating a revenge story, but leaves some meat on the bone in terms of narrative and visuals. Scenes come to a standstill and make a very short movie drag in places it shouldn’t. That being said, the final showdown makes it all worth it.

Traveling puppeteers Fujin (Hira) and Tornado (Kôki) live a peaceful life on the outskirts of town. Tornado is less enthralled with children’s toys and stories than Fujin and wants more out of life. When she and another young hustler cross paths with a bag of gold, stolen by the Sugarman gang, they can’t say no to the opportunity. The immediate consequences of their sticky fingers are a long line of death and destruction that leaves all parties in ruin. But when Sugarman (Tim Roth) takes it too far, Tornado sets out on a bloody revenge tour that cannot be stopped.

Tornado’s Cast Truly Elevate The Film

The cast is perfect, and any movie with Tim Roth as the antagonist is going to be worth watching. Roth can certainly dial it up or down, but he is magnificently quiet in Tornado in a way that even his most cerebral characters are not. Kôki is a revelation. Her character’s transformation from docile teen to out west avenger is the best part of the film. Her understanding of physicality is very apparent, and even in the action sequences that feel slow, she moves like a bolt of lightning.

Tornado is a true-blue western; there is no real B or C plot. Characters like Tornado and Fujin have shared history, but it does not play out during the film. Sugarman and Little Sugar certainly have a score to settle, but it bends together with a classic showdown involving everyone. Anything that could be considered supplementary falls by the wayside, and it is for the best. Co-writers Kate Leys and Maclean made a point to zero in on the Sugarman family and Tornado. Unfortunately, they don’t have that many scenes together, but it’s a chase movie, so that’s to be expected.

A Great Script But Not Enough Style

The Look & Feel Of The Film Do Not Live Up To The Story

Cinematographer Robbie Ryan has two Oscar nominations for his Yorgos Lanthimos collaborations, Poor Things and The Favourite. But perhaps most potent to this conversation is the work he did collaborating with Maclean on Slow West. The film plays just as its тιтle describes, but it is brilliantly colorful for a western. Unfortunately, Tornado does not bring the innovative perspective of Ryan’s work with Lanthimos and goes for a more standard approach in terms of the film’s color palette.

Tornado’s mission is to blend samurai and Western stories. A simple task given their similar plot structure. But the film doesn’t blend the two; it bookends a western with samurai elements. This is most clear in the film’s finale.

One by one, Tornado offs the members of the gang, but each scene is sH๏τ statically that it’s jarring in contrast to what’s happening onscreen. The kills themselves are awesome, but the takes are long and quiet in a way that slows everything down. Combined with dull colors — while intentional — the film does not fully lean into the script or genre it’s paying homage to.

Tornado is a slow burn that could have better blended its genres. It feels instantly forgettable despite its good moments. Perhaps another generation will come along to claim it, but for now, it’s more of a missed opportunity. Another combination of creative talent behind the scenes might have made it the breakout indie of the year. Tornado is a 90-minute genre film that has plenty to like, albeit nothing to love.