Good thing I don’t have a twin. Too much trouble as is with one me.
Twins Milo (Bill Hader) and Maggie (Kristen Wiig) haven’t spoken to one another in ten years, yet, they both attempt suicide on what seems to be the same day, within a few hours or so from one another. Though, Milo is the one who seems to be at least the most successful with his attempt and lands himself in a hospital, where Maggie comes to see him and urge him to come back to her small place in New York, with her husband (Luke Wilson) and, hopefully-soon-to-be, children. While there though, Milo begins to realize that Maggie and her hubby aren’t having the best of marriage and he believes that most of this might stem from the problems they suffered as kids, with their hapless mother and deceased father. Either way though, they count on one another to get each other through the thick and thin, even if one likes to think they have a better life than the other, as untrue as that may actually be.
There’s something rather nerve-wracking about watching a movie in which, the people involved are most known for their comedic-sensibilities, and spend a good majority of the movie doing the exact opposite of that. That’s the feeling one can get with the Skeleton Twins, because although we know Kristen Wiig and Bill Hader as two of the latest members of the SNL cast to leave onto bigger and (hopefully), better things, most of the screen-time here is dedicated to them being downright serious. Sure, they goof around at times, and make jokes at others, but for the most part, what Hader and Wiig do here is keep it dramatic, sad, and most of all, serious. Not all of the time, of course, but a good part of it.
However, while I may make this sound like a problem, that couldn’t be further and further away from the truth.
With the Skeleton Twins, and through Hader’s and Wiig’s performances, we get an inside glimpse into the lives of two very sad people who are, for lack of a better term, fed-up with the lives they have. One is upset about a recent love of his breaking his heart, whereas the other is tired of living a life that she doesn’t even know she can continue on with any longer, and while this could all be labeled down to “white people problems”, co-writer/director Craig Johnson does a very fine job at keeping clichés to a minimum of maybe five or so. But even when he does seem to be travelling down the used far too often road of “Cliché Land”, Johnson finds a way to spin it on its head and not just surprise us, but himself as well.
Take, for instance, the scene in which Hader lip-synchs “Nothing’s Gonna Stop Us Now” to Wiig; a scene which, in most movies, is so corny and tired, it had me wondering whether or Johnson himself even realized this, but was going to stick with the scene anyway. Well, thankfully, he does because it gets better and better as it goes on, and pretty damn funny, too. So much so that I don’t think I’ll ever be able to hear that lovely track by Starship ever the same again.
No joke, either.
But that’s why there’s something so charming and surprising about what Johnson does here – though he sets every scene up the way you’d expect him to (there’s even a scene in which Maggie and Milo get stoned and speak their true feelings), he changes it up at the last second and takes a surprising left turn. Though his swerves in the road don’t always work, for the most part, they’re effective enough to where they at least deserve credit for trying, rather than falling flat on their faces and having Johnson look silly. But you can’t even hate on a director for being ambitious, if even in the slightest, teeniest ways.
Same could be said for both Hader and Wiig who, like I mentioned before, aren’t really being all that funny in this movie. Okay, that’s kind of a lie because yes, in this movie, Wiig and Hader are very funny, but not all of the time. Then again though, they aren’t trying so hard to make you realize that they’re actually acting, and more or less, just become their characters. Maybe this is less of a challenge for Wiig because, ever since she left SNL, we’ve seen her wade through heavily dramatic characters, one after another, and there’s always something surprising about how well she’s able to pull it off.
But I guess the one who gets called into question the most about his actual abilities as an actor is Bill Hader who, much like Wiig, has done some dramatic-fare in the past, but never as deep or as dark as he plunges into here. As Milo, an openly-gay character, Hader doesn’t over-do it with the gay eccentrics, like as if it were done for jokes, but more so, as we’re supposed to see the type of person he is and feel bad for him as a result. Hader excels in this role and it has me excited to see what he could possibly due next, not just because he seems to have finally get that role which will have him be taken more seriously as an actor, but because he doesn’t have to worry about being around and free on Lorne Michaels’ schedule and can do what he wants, whenever he wants.
Same goes for Wiig, but having seen her in many others movie, I’ve known this for quite some time. The real beauty here though, is that her and Hader are so believable as a brother-sister combo that it actually feels like how they were written – they were close for so very long, only to then fall out of touch with one another. But, what the real beauty behind their relationship is that, whenever they get the chances to do so, the inherent spark that’s usually there in any family, still shows and it allows these two to play-off of each other so perfectly. And I don’t mean in that they get to be funny, but more so in the way that they’re able to reveal small, tender insights into the people they are, solely by their interaction.
It’s the kind of performances most movies would kill for, and it’s made all the better by the fact that these aren’t the types of roles we expect these two stars to have.
Away from those two though, it was also lovely to see Luke Wilson in here; not just because he’s good, but because he’s actually working again and showing off that likability of his that hardly ever goes away, no matter what he’s in. Most of this has to do with the character and the way he’s written – Lance is a guy who is quite eager about the life he’s lived and the life that may be in front of him and though that sometimes may be off-putting to those around him in the movie, the movie never plays it up for laughs, or seems to be making fun of him for the way he is. He’s just an all around, simply put, nice guy who, sadly, seemed to marry the wrong woman. May have been for the right reasons, but there’s still a bit of sadness that we know it may end well between Lance and Maggie, but the chance that it may not, is incredibly sad.
Although, at the end of the day, all he has to do is laugh it off, smile, and get on with his day. Much like everybody else on this planet.
Consensus: Anchored by two wonderful performances from Hader, Wiig and Wilson, the Skeleton Twins gets by because it presents conventions, but hardly ever falls for them, no matter how tempting they may be.
7.5 / 10 = Rental!!