18 June 2025

A samurai lost in the wilderness

John Maclean’s revenge thriller Tornado showcases for Scotland’s beautiful landscape, but the film has little to say.

The Scottish director John Maclean’s austere second feature film opens halfway through the story, with its heroine, Tornado (played by the Japanese singer Kōki), trying to save herself from a group of hideously threatening men. The year is 1790 and the setting somewhere in the British Isles; the group chasing her is following the orders of head honcho Sugar (an enjoyably dead-eyed Tim Roth).

We don’t know yet why these ne’er-do-wells are after Tornado, but they obviously mean business. As they follow her, Sugar casually slits the throat of one of his own underlings; even when Tornado seeks refuge in a beautiful manor house, her chances of survival don’t look great.

The film has been described as a samurai western – Maclean’s debut, the much-admired Slow West, was set in 19th-century Colorado – and it does feel like it’s been made by someone who knows their way around Akira Kurosawa’s collected works. But it’s also a gory revenge thriller in which considerable amounts of blood end up darkening the wind-beaten heath, and a period drama that says audaciously little about the period or locations it’s set in (much of it was in fact shot in the Pentland Hills, near Edinburgh).

Tornado, we soon learn, is being pursued by the men, who are thieves, because she’s nicked their stuff. Specifically, their gold. They’ve stolen two sacks’ worth of coins from a church. First the gold was taken from the thieves by a young urchin (Nathan Malone), then Tornado took the gold from him and hid it beneath a tree. What she hopes to achieve with the loot long-term the audience is never told – no one does anything so gauche as explain themselves in this film – but she seems to want to strike out from her father, Fujin (Takehiro Hira), who runs a travelling puppet show.

Fujin is also a samurai of sorts, who has taught Tornado how to wield a sword with deadly skill. When they aren’t practising sword-swishing, or putting on their quaint little show for entranced and grubby locals, Fujin gives his daughter life advice in weighty proclamations. She finds them, and him, quite annoying. “I hate you,” she tells him, before he is killed by one of Sugar’s men.

The film looks and sounds like a better film than it is. Beautifully shot by Robbie Ryan (the director of photography on Poor Things) in a wilderness that feels forsaken, it has the tawny look of a Toast ad campaign. The costumes, too, are gorgeous, if a little distracting: Tornado troops around in an enviable poncho-type outfit and yeti boots, and Sugar’s men – including Jack Lowden as his taciturn son, Little Sugar – sport rugged sweaters and overcoats.

The score (by Jed Kurzel, who also wrote the soundtrack for Slow West) is angular and appropriately melodramatic, and the production design, by Elizabeth El-Kadhi, is charming. Among the places Tornado seeks refuge is a circus, and every frame of this sequence reveals inventive attention to detail, from the delicate lace left drying in the open air to the circus troupe’s rickety carriages.

Even so, moments of beauty aren’t enough to make a film worth seeing, and there is something lacking here. Characters speak ponderously and act incomprehensibly. Though Tornado looks deeply cool, with her long black hair flicking in the biting wind, you never particularly care about her.

Lowden and Roth acquit themselves perfectly in their roles, but they’re not given that much to do. As top baddie, Roth spends his time looking disappointed with the life he’s condemned himself to, while Lowden mainly strides through long grasses and remains impassive when Sugar punches him.

It’s not unusual for films that present themselves as avant-garde – as Tornado does in its trailer – not to have all that much to say. Depths are promised but never delivered; characters are well acted, but the words they’re saying are banal. Viewers who go to the cinema to see such films may feel virtuous for doing so, like they’re engaging with high culture, but they are unlikely to emerge moved or amused or changed in any way. It’s not bad cinema, per se, just rather pointless.

“Tornado” is in cinemas now