The Skeleton Twins

Contrary to its confusing and misleading title, The Skeleton Twins starring Kristen Wiig and Bill Hader is NOT a horror film.

As if the title wasn't bad enough and a release date in October, this real world dramedy starring two shining comedic stars is a gut-wrenching, tender tale of sibling rivalry and love that is relatable to every person sharing half of their genetic imprint with someone else. The Skeleton Twins is an awesome little American indie with some heart, and a lot of soul.

The siblings, Maggie and Milo, played perfectly by Kristen Wiig and Bill Hader, are two people hiding from their greatest fears and darkest demons in completely different ways. After ten years of being apart, the siblings both share a near death experiences and decide to room up and bunk together in Maggie's idealistic suburban house outside the big apple. Hesitant and awkward at first, the two learn much about one another and the biggest challenges in each others lives: including Milo's inability to face reality and Maggie's fears of becoming a mother and loyal wife to her husband Lance (Luke Wilson).

While there isn't much slapstick excitement happening in The Skeleton Twins that would initially get fans of both stars into the theatre, the real comedy comes from the comedic genius and masterminds on the page; screenwriters Mark Heyman and Craig Johnson, who has double duty as director. Offering emotionally wrenching scenes that provide a full dose of clarity to our characters and heart-breaking scenes that could easily be a glimpse into each and every one of our lives, the writing duo opt for a more realistic and fresh look at the troubles plaguing two siblings familial life. From pitch perfect arguments about favourites between the siblings, to an over-bearing mother (Joanna Gleason), to perfect husband problems including the temptation of affairs and mid-life crisis that hit strong emotional cords with audience members, the film is a divine example of having a wonderful story carried by actors who need or do very little to convey their message.

Although Wiig is comedy gold throughout all of her scenes that should not be undermined, the real star in the film is consistently underused Hader. Hader, who has never really starred in his own film and given sole spotlight, of course excluding Cloudy With A Chance of Meatballs, where he plays the voice of its hero Flint Lockwood, has always stood at the side of other comedic actors and has always provided a familiar face with being 'that' guy in comedies like Superbad, Paul and yes, even her. But not this time. With The Skeleton Twins, a film that equally bills Wiig and Hader, shows the dominance of Hader's comedy and his ability as a leading man. Noticeable and glorious, Hader exudes a familiar yet original signature to Milo, the gay uncle we have known to expect and love. With his scarf wrapped around his neck in the perfectly posh position, as well as giving the perfect amount of gayness to his mannerisms and movements, Hader's homosexual role works thankfully to his real secret weapon, flamboyant comedic timing. Hader has never been better.

Naturally, given the expectant comedy of its stars, the film isn't all (surprisingly) about comedy. Dealing with grim and very serious issues such as suicide, unfaithfulness and the child molestation, the film flips its tone on a dime, thanks, no less, to its stars and cloudy cinematography in the sleepy suburban town outside New York City. Both leads are able to switch instantly from comedy to heavy drama, and really flesh out the big issues that are consuming their lives and the lives of the people they love around them–mostly one another. After being emotionally absent by their mother after the suicide of their father, Maggie and Milo experience the harsh realities of having a family and show-business all their own, given the film its real social consciousness, making for a very heavy and serious film.

The biggest boogyman in The Skeleton Twins is independence and growing up; facing truth, running away from your past and coming to terms with the people we are, and the changes we need to make in order to live a happy and fulfilling life. Wiig and Hader are two exceptional actors exercising their dramatic shops in their roles of two people figuring life out, like the rest of us with a real emotional presence and response.

There isn't enough praise that could be given to the script and use of witty dialogue and relatable scenes of dysfunctional family drama. It's no surprise that The Skeleton Twins snatched up the prestigious screen writing award this year at Sundance; an award that is quite reputable given the festival's reputation of originality and artistic cleverness.

But with any good emotional family melodrama coming out of the festival of the mountains, comes some effective comedic relief. Rewarding audiences not by means of character redemptions or perfectly placed saviours, the film allows the tension and heavy set drama to designate with audiences given its highly effective comedic scenes of hope and happiness. It may not be the best scene you will see all year, but an unexpected sing-along between Maggie and Milo kicking' old school to Starship's Nothing's Gonna Stop Us Now will surely have you smiling and dancing your way out of your seat by the time the end credits roll.

Much like the subject matter and film itself, nothing is what it seems. With an all around solid cast, including a surprise appearance by Ty Burrell, in an unconventional role that spins his image as patriarch Phil from the television hit Modern Family on its head, The Skeleton Twins may very well be one of the best dysfunctional farm family dramady's in a long time.

Always given the bit-part characters in the great Apatow comedies of 6 or 7 years ago, it was a mistake of mine to never take Bill Hadar or Kristen Wiig seriously. Sure, Wiig showed some dramatic weight in Bridesmaids, but that was a light comedy after all. The Skeleton Twins is a lot darker, looking at suicide and failure. Wiig and Hadar's conviction really elevate the material here, especially the latter as her gay brother Milo. Their chemistry is predictably a joy to watch. I just wish I related to it more. I could empathize to a point but I didn't identify with it. It's a little difficult to feel too much sympathy for characters who spend the film feeling sorry for themselves and putting themselves into situations that hurt them. Nevertheless, the consequences the film explores are heartbreaking and authentic, especially the confrontations in its final 20 minutes. It has a lovely visual style to go with the mood with a soft washed out look paired with a great soundtrack, especially a memorable lip syncing scene that whisks you away with it. Perhaps it's too familiar or too irreverent for its own good, but it's certainly a good effort from everyone.

7/10

Kristen Wiig and Bill Hader are such comedy wunderkinds that a dramatic role sounds like a waste. We can picture Wiig screwing around a room with the pizazz of Carol Burnett, with Hader, alongside her, spitting out wicked lines in a wacky voice. Though The Skeleton Twins has a handful of funny moments, it is first and foremost a gloomy drama; we may all love Wiig and Hader's antics on Saturday Night Live, but they are blessed with some serious acting talent. It's the Double Indemnity to their Ball of Fire, the War and Peace to their Sabrina.

Twins Maggie (Wiig) and Milo (Hader) have been estranged for 10 years. They're reacquainted, however, when Maggie receives a call from an unknown number; she is informed that Milo has attempted suicide. In one hand, she holds the phone. In the other is a smattering of pills. It's a coincidence that seems as though God set it up just for them. Maggie immediately invites Milo to stay with her and her picture perfect husband, Lance (Luke Wilson), in their suburban New York home; but just as they begin to reconnect, they are forced to face their innermost demons.

Milo has been living in Los Angeles for a decade, desperate to become a famous actor. He's seen little success, his life marred with constant disappointment. Maggie knows that she has married a good man, but she is bored with her comfortable, predictable marriage; she's partaken in several affairs and has purposely destroyed any chances of having a baby, something Lance dreams of.

The people in The Skeleton Twins aren't unstable in a melodramatic fashion. They are disappointed with their lives, ready to do something drastic just to inject meaning into their veins. Milo thought he'd be the bullied outsider that could, one day, come to a class reunion and laugh at his balding, middling tormentors. Maggie thought that she could live in domestic bliss and stay within that bliss. But it doesn't happen.

The film explores several relationships, going back and forth between Milo and Maggie, Milo and his ex-lover, Rich (Ty Burrell), who destroyed his teenage years, and the siblings and their flighty mother (Joanna Gleason). The conversations glide over and under sheer wit and blood- letting, the characters are written with hundreds of layers. They hit close to home, making us question our own self-confidence and achievements.

But it's one of those films in which the biggest successes come from the actors. If they didn't have chemistry, The Skeleton Twins would never work. Yet the emotional bonds (good or bad) between the actors in the film are so instantaneously genuine that there is a fluidity that makes the anguish all the more real. The laughs are quick, but they are consistently overtaken by the somber sequences that follow them. Because, in real life, a joke can be thrown off a roof if you open up an old wound.

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I think many people may find this film hard to relate to, but for the people who do it will really strike true. The sibling dynamic really reminded me of my own relationship with my brother--from the mouthing song lyrics to random poking to putting makeup on him to strange jokes/characters that don't make sense to anyone else. I've never seen a film that so accurately portrayed that type of relationship. Bill Hader was exceptional, with a subtle and nuanced performance (but then again I think he's great in everything he does). Kristen Wiig was also fantastic, and their chemistry really brought life to the film.

I think people who relate to the things the film deals with (depression, sibling relationships, dysfunctional family) will really love this movie, while those who can't see themselves reflected in any of the characters or situations might get less out of it. But so it goes for most movies, I suppose.

Greetings again from the darkness. Kristen Wiig, Bill Hader, Ty Burrell and Luke Wilson ... prepare yourself for 90 minutes of side-splitting laughter! OK, well you can prepare all you want, but you should know that while there are some funny moments, this is one of the bleakest films of the year. Bleak as in achingly painful to watch at times due to the emotional pain most every character experiences.

Hopefully no one stopped reading after "side-splitting laughter" because here is a sampling of thematic elements covered in the film: attempted suicide, suicide of a parent, adultery, sexual abuse of a minor, rampant lying, depression, horrific parenting, drug use, animal cruelty.

If Bill Hader and Kristen Wiig of SNL fame don't spring to mind when considering those elements, please keep an open mind. Both are extremely good (and believable) in their roles as twins estranged for a decade, forced back together after a near tragedy. See, after a miserable childhood, their time apart has prevented both from establishing a strong personal relationship with anyone else. Hader plays a self-professed "gay cliché", while Wiig is pretending to have the perfect suburban life with her gung-ho, always "up", good guy husband (Luke Wilson).

The film's best humor is produced in small moments thanks to the connection between Wiig and Hader. It's definitely not in the almost shameful attempts at crowd-pleasing offered in the SNL-ish scenes of lip-synching to Starship, and over-indulging on Nitrous Oxide at the dental office.

Real emotional turmoil exists in the scenes between Hader and Ty Burrell, and the unnecessary and inexplicable reunion between Hader, Wiig and their mother (Joanna Gleason). Burrell, known for his outstanding "Modern Family" role, is intriguing as a dramatic actor. Looking forward to more of this from him.

The script, co-written by director Craig Johnson and Mark Heyman, really does capture some poignant and dramatic moments, and certainly benefits from the extremely talented cast. Just don't expect that side-splitting laughter ... unless you are susceptible to lip-synching and/or nitrous oxide.