Featuring: Bill Hader, Kristin Wiig, Luke Wilson, Ty Burrell, Boyd Holbrook, Joanna Gleason
Screenwriter/Director: Craig Johnson
Movie website: skeletontwinsmovie.com/
Australian release date: Thursday 25 Sep, 2014
Verdict: A wonderfully written and performed tragi-comic adult coming-of-age movie – funny, astute and moving.
Twins Milo (Bill Hader) and Maggie (Kristin Wiig) share a painful past, their father having suicided when they were 14. Once inseparable, they are now in their thirties, and have been estranged for 10 years. Milo is a would-be actor based in LA and Maggie is married and living in their home town in upstate New York.
Hospitalised after a bid to follow in his father’s self-annihilating footsteps, Milo is visited by Maggie, who is similarly crisis-stricken despite outward appearances to the contrary (the notion of hiding behind facades is symbolically represented in repeated flashbacks of the twins wearing masks during childhood theatrical performances). With some initial reluctance, Milo accepts his sister’s invitation to spend time recuperating at her home.
Overtly gay and given to dark, ironic humour, he is a polar opposite to his sister’s decent but straight-laced and eye-rollingly cheerful jock husband Lance. This makes for some amusing interplay, as Milo directs his acerbic pay-out wit at an apparently oblivious and eternally upbeat target. Maggie strives valiantly to defend her well-meaning husband against Milo’s derisive cracks. Less convincing are her attempts in one-on-ones with her bro to justify her choice of spouse and affirm the healthy state of their marriage.
As the twins re-connect with each other and rake over aspects of their shared past, they plug back into the joyful rapport they shared in childhood, but also come to see that they are both still emotionally traumatised, and harbouring toxic secrets arising from destructive and ill-judged personal decisions.
Leads Bill Hader and Kristin Wiig do full justice to an often scintillating and always psychologically astute screenplay, playing off each other with impeccable timing and striking a fine balance of humour and pathos in their characters.
The Lance character is well-managed – again, a function of good screenwriting (Craig Johnson) and performance (Luke Wilson). In less adept hands poor old Lance could have been merely a buffoonish butt of snide jibes, but rises above this sorry status to reveal himself as a sensitive, vulnerable soul in danger of becoming collateral damage at the compulsively destructive hands of a dysfunctional and confused partner.
The twins’ dippy, self-centred New Age ex-hippy boomer mother (Joanna Gleason) is sent up mercilessly during her short time on-screen, and rightly so. She lives in denial of her children’s pain. It is not only their father who has something to answer for here.
Indeed, all the characters are in denial of some type. While some get no closer to facing the truths they fear, for Milo and Maggie the cost of continuing to hide from themselves and each other is too much to bear. They must sink or swim, and their struggle for survival is funny, warming, heartbreaking, and always compelling.
The music is terrif, too. Ironically, the one exception, Starship’s dorky 80s lighter-raiser Nothing’s Gonna Stop Us Now, provides one of the highlights of the movie – a hoot of a miming scene as the twins rediscover their childhood performing mojo.
The takeaway message is a bit neat, and the film runs off the rails towards the end, ending up in Hollywood central. Don’t be put off – these are forgivable glitches in an otherwise fine tragi-comedy. Highly recommended.
For other Boomtown Rap movie reviews, see Movie Review Archives