Tornado (2025) - Film Review

      **Tornado, 2025.**

      **Written and Directed by John Maclean.**

      **Starring Kōki, Tim Roth, Jack Lowden, Takehiro Hira, Rory McCann, Ian Hanmore, Jamie Michie, Jack Morris, Sammy Hayman, Nathan Malone, Dennis Okwera, Raphaël Thiéry, Joanne Whalley, Alex Macqueen, Douglas Russell, and Bryan Michael Mills.**

      **SYNOPSIS:**

      The daughter of a Japanese puppeteer becomes entangled with criminals when her performance intersects with a crime syndicate led by Sugarman and his son, Little Sugar.

      Given the long gaps between his few projects, it’s understandable if one hasn’t recognized director John Maclean’s name. However, after watching *Tornado*, it becomes clear that this is the imaginative creator behind the darkly humorous Western film, *Slow West*.

      Teamwork with Kate Leys on the narrative showcases Maclean’s influences, as he shifts from Tarantino-style pulp to embrace the aesthetics of Akira Kurosawa. He adopts a title font reminiscent of Kurosawa’s works, presenting moral dilemmas, nonlinear storytelling, expansive settings (courtesy of frequent Yorgos Lanthimos collaborator Robbie Ryan), and sword fights that honor classic framing while maintaining its own delightfully brutal essence. With stolen wealth—represented in gold—at the heart of the chaos, the film carries a hint of Coen Brothers’ flavor.

      Set in the midst of turmoil during the late 18th century, Kōki’s titular character, Tornado, is seen fleeing from bandits she inadvertently involved herself with after they acquired some gold. While running across an open field and taking refuge in a building, a young boy (Nathan Malone, credited as The Boy), whose relationship to Tornado remains undisclosed, is introduced. It's clear that his life is at risk as these criminals, led by Tim Roth’s Sugarman, are relentless in their pursuit to reclaim their gold, willing to resort to threats and violence. An early humorous scene with a piano establishes the film's off-kilter tone, echoing a quirky moment from *Slow West*.

      After that sequence, as Tornado begins to explain her perilous situation to another character, subtle editing by Selina Macarthur and Ryan Morrison takes the story back to its starting point, incrementally revealing how and why everyone became involved in the quest for the gold. Additionally, there’s a contrast in parental dynamics: Tornado yearns for a more meaningful life outside her strict, no-frills father Fujin’s (Takehiro Hira) demanding public performances despite harsh conditions, like inclement weather that ominously hints at a tumultuous end to her coming-of-age journey.

      Conversely, Sugarman and his son Little Sugar (Jack Lowden) embody a more abusive version of tough love. Despite being tasked with retrieving the stolen gold, Little remains detached from the rest of the absurdly nicknamed gang members, such as Lazy Legs and Squid Lips. This narrative doesn’t revolve around the bonding of Tornado and Little over their fathers; rather, these subtleties invite deeper contemplation. The story centers on greed and retribution, revealing that Tornado is not without her flaws. She swiftly steals the money from The Boy (presumably an orphan) who had already taken it from the gang, heartlessly leaving him with only a few coins. Her attempt to conceal her actions contributes to the gang tracking her and her father down.

      The nonlinear format serves not to circle back to the initial scene but to subvert expectations through diverse perspectives. It culminates in an understated explosion of violence that, although accompanied by Ananda Chatterjee’s orchestral score that heightens the tension, carries an unexpected tranquility even amid severed limbs.

      Before this eruption of violence, Tornado defiantly declares her enemies will remember her name. After some creatively executed kills (including one where a sword is embedded in a tree), viewers are sure to recall her, even if much of the film leans towards style rather than groundbreaking or surprising storytelling. The positive aspect is that casting Tim Roth as the antagonist assures an engaging film. Kōki excels in both the action sequences and emotional moments. While it might be a stretch to claim viewers will be swept away by *Tornado*, it is beautifully filmed, pays respect to its influences, and concludes on a gruesome high note.

      **Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★**

      Robert Kojder is associated with the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He is also the Reviews Editor for Flickering Myth. Check here for new reviews and follow on BlueSky or Letterboxd.