The new disaster movie Into The Storm is now in cinemas. Sinead Brennan finds out whether you should experience some extreme weather. 

It's been 18 years since Twister was released and we're going back into the eye of the tornado with Into The Storm. But unfortunately there aren't enough flying cows and fire tornadoes in the world to make this a must-watch.

Into The Storm is exactly what you would expect from your middle-of-the-road disaster movie, and the script really just serves to take the audience from one giant tornado scene to another. But even in the most action-packed, high-octane CGI-fests, you fundamentally need to care about the characters and their missions - and this is where Into The Storm just fails to hit the mark.

The film follows high-school teacher Gary (Richard Armitage) on a quest to find his son Donnie (Max Deacon) after they've been separated just before disaster strikes. While the premise is good – it worked in The Day After Tomorrow after all – I never really cared all that much if they were reunited or not.

It has to be said, however, that the found-footage style of filming does capture the essence of their family-life quite well. Certain exchanges between Gary and Donnie are almost uncomfortable to watch, in the sense that it is like sitting in a friend's house when they start arguing with their parents and you don't know where to look. So, as father and son, they are believable on screen. 

But the ability to create some awkward tension is the only pro of the faux-documentary style of filming, and the addition of what (I'm assuming) are supposed to be comic-relief in the form of two hillbilly wannabe storm-chasers is more cringe than anything.

It's not the worst film I've ever seen but it's far from the best. If you're dying to go to the cinema this weekend, and fancy soaking up some special effects and utter destruction, then give it a shot – the sheer volume and variety of tornado will blow you away, but the screenplay leaves a lot to be desired.


Check out our interview with Richard Armitage and Max Deacon here: