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.

Upstate NY is the setting for this funny and poignant film about a set of twins who split apart but are brought together by near-death experiences.

It is difficult to make a movie that can go from laughter to the depths of anguish and remain entertaining or even believable, but "The Skeleton Twins" manages it well; but without Bill Hader and Kristen Wiig the degree of difficulty would have increased significantly.

Hader plays a gay wannabe actor who is not doing well out in LA and paying his rent by waiting tables; Wiig is his twin who has stayed in the small town where they grew up and she is a dental hygienist. Although the flamboyantly gay "Stephone" was a Hader favorite on Saturday Night Live, do not expect a stereotype with Milo: this is a human and not a joke.

Wiig's Maggie is a flawed character, and both sibs are scarred by their dreadful childhood. How they eventually come to depend on each other is a thing of beauty.

Finally, cheers to Craig Johnson for the way he wrote Luke Wilson's Lance: the straight guy who just wants Maggie to be happy and have his children. Johnson makes him a noble character unlike the buffoon so many in Hollywood would have made of this type.

The chemistry between Wiig and Hader is incredible, and Wilson is a joy to behold. This is a must-see.

Twins Milo and Maggie have not seen each other for ten years then Maggie gets a call to say her estranged brother is in hospital after a failed suicide attempt.

She goes to see him out in L.A. and brings him back to New York. There he gets to confront his past, their joint histories and whatever the future may hold. This is essentially them getting to know each other again after such a long hiatus and in doing so holding up a metaphoric mirror to each other.

Now this started out a bit slow but once it picked up it is really engaging. Bill Hader as Milo manages to capture the complexities of some one full of life's disappointment but still with reserves of joy that just need tapping. Kristen Wiig plays his sister who has more layers than an onion in terms of how she juggles her various needs. In other words they are both just really human with the same frailties we all have. This is a comedy but it is somewhat dark and often wry but I still found this to be extremely enjoyable for all that – recommended to those who like an offbeat comedy.

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.

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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