The Coriolis Effect is a 1994 short black-and-white film starring James Wilder, Jennifer Rubin, Dana Ashbrook and Corinne Bohrer, featuring a voice-only appearance from Quentin Tarantino.

[4] The release, Kisses in the Dark, compromises four independent award-winning short films: The Coriolis Effect, Solly's Diner, Looping and Joe.

[10] In the Chicago Tribune issue of April 13, 1995, movie critic Michael Wilmington gave three and a half out of five stars, and stated: "Making Up!"

and "The Coriolis Effect" - the highly entertaining featurettes that make up an excellent double bill starting Friday at Facets Multimedia - are two bawdy, irreverent youth comedies that share an interesting theme: They're about best friends whose lives are complicated by their romantic pursuits.

Also on November 4, 1994, Paul Sherman of Boston Herald compared the film with Making Up!, stating: "The Coriolis Effect" is only slightly more profound but at least has energy.

The review stated: A woman who walks into a tornado, a murderer who explains himself, and the nerdiest stepfather in the suburbs are the heroes of the three films joined under the rubric "Tall Tales."

The works have nothing much in common beyond black-and-white photography, a length more suited to sitcoms than arty films like these (a half-hour, give or take five minutes) and a slightly macabre view of human relationships.

The best is "The Coriolis Effect," a fresh, self-assured film about sexual jealousy, dangerous living and the afterlife, with a nod to "The Wizard of Oz."

Mordantly funny and sharp, "The Coriolis Effect" was written and directed by Louis Venosta, a screenwriter whose credits include the Mel Gibson/Goldie Hawn movie "Bird on a Wire".

[14] In The Michigan Daily of January 24, 1995, Shirley Lee reviewed the film, stating: Undeniably provocative and eccentric, "The Coriolis Effect" and "Making Up!"

Fans of efficiency take note: Director Louis Venosta of "The Coriolis Effect" needs a mere 10 seconds to fully entice you and let you know that allotting an hour to this black and white production is a win-win situation.

"The Coriolis Effect" results in a film that details the empathy and inspiration Ray and Stan find when they cross Ruby, a nonsensical but fearless wild woman, on their mission to observe the mighty Twister, a tornado.

Venosta, beyond the real of artistry, creates quick-witted and daringly enlightening dialogue, although at times it is cliché-laden by trite and generic metaphors such as "a kiss to set you free" and speaking of love in terms of "a leap of faith."

“Making Up!” and “The Coriolis Effect” share two qualities: short running times and leading characters who chatter away with incredible frustration about the opposite sex.

It has everything you hope for in an independent film – wit, style and an originality that big budgets cannot buy – along with one element you fear: Its title sounds like something a gardener would tell you is wrong with your plants.

But everything in the film itself is fascinating, especially the manner in which Louis Venosta, the writer-director, alternately makes the approaching tornado a comic backdrop and a very real threat.