TWINLESS – Review

Now this new film would be tough to categorize for anyone trying to recommend it to other moviegoers, let alone the writers for theatre chain websites. And that’s a good thing, since the multiplex really needs to have some fare that can’t be “pigeonholed” into a select “by-the-numbers” genre. Though many might not enjoy that, I really get a kick out of stories that throw me a “curve” or just keep me “off balance”. As a movie “Mulligan’s stew”, this dramedy/mystery/romantic character study with some sexy “spice” makes a tasty meal as you find out just what is the meaning of its provocative title, TWINLESS.

We’re “clued in” early on in this story when we hear some noise (tires screeching, a thud) from a fatal accident on a busy urban street, just “off camera”. From there, we’re taken to a graveside funeral service for a young man in his late twenties named Rocky. The mourners are stunned to see the departed’s twin brother in attendance, Roman (Dylan O’Brien), next to his mother, Lisa (Lauren Graham). Back at Rocky’s apartment, the two clash while going through his things before she heads back home. Roman remains in the city, and to calm his anger issues, attends a meeting of a support group for people who have lost their identical twin. There, he strikes up a conversation with Dennis (James Sweeney). During their talk, Dennis tosses out a casual joke about his sexuality (he’s gay). Straight Roman tells him that his brother Rocky was “out and proud”. The two exchange numbers after going to a nearby diner. Although they’re quite different (Dennis is much more cultured, but less confident), Roman reaches out to him, and the two become “hang buddies”, even grocery shopping together (not being alone in the store is a great comfort to Roman). The story pivots to show us that Dennis did actually know Rocky, one of many secrets withheld from Roman. Things get even more complicated when he begins dating the bubbly receptionist at Dennis’ work, Marcie (Aisling Franciosi). Can Dennis continue keeping Roman in the dark, or will Marcie somehow “spill the beans”? And what about his growing attraction for the “unattainable” twinless sibling?

The story’s dense plot works due to the considerable talents of the film’s two lead actors. Perhaps the tad more complex one is anchored by the superb rising star O’Brien (so good as Dan Ackroyd in last year’s SATURDAY NIGHT). He’s tasked with making us invested in the often volatile Roman, who is sweet as a “dems’ and dose'” bro, but can’t quite stop his fist when rage takes over. And yet, O’Brien brings lots of vulnerability to him, as Roman flails about, feeling lost without his twin, Rocky. And yes, we get to see O’Brien in a completely different persona in the flashback scenes of the departed sibling (distinctly different vocal delivery and body language). But that’s not to say that the gifted Sweeney is “treading water” around O’Brien. He also gets us cautiously on Dennis’ side, even as we know that the truth must be revealed. Sweeny shows us that he’s also more than a bit broken by his obsession and yearning for connection, while hiding behind an aloof attitude. Franciosi is the sweet, nurturing “counter-balance” to the duo as she does her best to be a cheerleader for Dennis even as her feelings for Roman emerge. But Franciosi makes her more than “the girlfriend” or even a “third wheel,” as she shows us the “steel” interior around Marcie’s candy-coated exterior. Big kudos to Ms. Graham for her work in just a couple of scenes as the “walking wounded” mother who seems to be sidelined by her all-consuming grief.

Oh, I was surprised to see that aside from co-starring, Sweeney also directed the film from his own script (his second solo feature). And he does a splendid job in twisting the narrative almost into knots, even making us wait nearly twenty minutes to see the title and opening credits. He also deftly shifts the focus from Roman (who dominates the prologue) to the quirky Dennis, who we see doing mental gymnastics to try and disguise his deceptions (love the impromptu British accent). Sweeney injects suspense into the narrative, as we wait for the big reveal and wonder about the character’s reactions. In his direction, Sweeney makes some interesting visual choices, best shown in his clever staging (split screens) of a big Halloween party sequence at Marcie’s and later in a revealing trip into a “day-glo” adult amusement center, which throws the main trio off-kilter. He also disorients us with some early graphic sex scenes before slowing the pace for more emotional intimate interactions, broken up by an “out-of-nowhere” bit of street violence. So for more adventurous filmgoers, this is a movie with strong characters, and an unpredictable script told with surprising visual confidence. That and a terrific young cast makes TWINLESS a true original.

3 Out of 4

TWINLESS is now playing in select theatres