Why fans are spiraling over Twisters' deleted kiss scene

After making more than $80 million domestically in its first weekend, it's safe to say that Twisters is taking the box office by storm.

The film is Certified Fresh on Rotten Tomatoes, with a 92 per cent approval rating from audiences. But some viewers have pointed out that while the film has immersive action and fun blockbuster performances, it fails to seal the deal in one key way: with a kiss.

Today on Commotion, film critic Rad Simonpillai and culture critic Anne T. Donahue join host Elamin Abdelmahmoud to discuss the standalone sequel to Twister, and how this follow-up fares as a big-budget disaster movie at a time when climate change is on everyone's mind.

We've included some highlights below, edited for length and clarity. For the full discussion, listen and follow Commotion with Elamin Abdelmahmoud on your favourite podcast player.

Elamin: I want to talk about Glen Powell for a moment, because everybody wants to talk about Glen Powell for a moment. The trajectory has been, in many ways, sort of a traditional trajectory of how you get a leading man launched — which we haven't had in a little while, right? From third-billed in Maverick, the Top Gun sequel, to this being his breakout moment, how are you thinking about Glen Powell as the leading man of the moment?

Rad: I think this is the guy that has the charisma [and] knows how to wield it. You're going from Top Gun to then that Anyone But You moment where he knows how to be sexy, he knows how to play that…. I do believe Glen Powell is a huge part of the box office draw, because I don't know how many kids today are like, "I have this nostalgic fondness for Twister." You know?

I think it's interesting how people are right now obsessed about the deleted kiss scene of the movie. It's reminding me of how they were shipping Glen Powell and Sydney Sweeney from Anyone But You. Right now, they're kind of shipping Glen Powell and Daisy Edgar-Jones like, "Where was the kiss? Why did we not have the kiss?"

Elamin: If I can just give people the context of the deleted kiss scene: on social media, this clip was going viral of Glen Powell and Daisy Edgar-Jones on set, sharing a very passionate kiss. They're dressed in the clothing that they appear to have been wearing in the last scene of the movie. And so what you kind of find out is this kiss was deleted from the film.

The director did talk a little bit about how that decision was largely based on trying to give Daisy Edgar-Jones's character her full arc. And the only comment that I have to say about that is a joke that my wife Emily made, which is this is how you know feminism has gone too far. Because the kiss was a very good kiss, and in fact we actually haven't seen kissing like this in film in some time. The idea that we lose that in this moment felt especially tragic.

Anne: I think you have the end of the original Twister — Jo and Bill have survived an F5. They shouldn't have, but they did. They're making out at the end. People are basically applauding around them. Everything is great. This wouldn't have taken away from her central story arc. Also, they had a very adrenaline-fueled relationship in the film. You would think that there would be more kissing if anything. Also, what's the matter with seeing two good-looking actors kiss at the end of a film? I mean, she had her own story. This movie passes the Bechdel test.

Rad: Also, to go back to what you were originally asking about Glen Powell, I think he is the guy that knows what a movie needs and what needs to be delivered. Because he's the only guy in this movie that is acting like he's in a movie called Twisters.

Anne: Yes!

Elamin: Anthony Ramos's character is very serious in this movie.

Anne: There's a part of me that felt like I was watching Normal People a little bit when Daisy Edgar-Jones was acting. Then it goes not-that-way, because we're in Twisters with an -s.

You can listen to the full discussion from today's show on CBC Listen or on our podcast, Commotion with Elamin Abdelmahmoud, available wherever you get your podcasts.

Panel produced by Ty Callender.