Inspired by Redbelt, Roger Ebert has coined a new genre: the “Twister” – a movie that’s less identifiable about what it’s about than how it’s about it – specifically, one that constantly plays with the audiences expectations:

Twisters don’t twist only at the end. They pull one rug from another out from under our feet, until we’re astonished by how many rugs we were standing on. Sometimes it’s almost impossible to keep all the versions of reality straight. Sometimes it’s a futile exercise, because we realize the film could continue indefinitely. But when a Twister is in the hands of a master like Mamet, it can be devilish and ingenious.