One of the major movie star clichés, right along with “What I really want to do is direct” is the wail of the comedy star, “I want to show that I’m a serious actor”. Through the years many actors first known for generating laughs have attempted to stretch, to show another facet, by taking dramatic roles, often with mixed results. For every Jerry Lewis in THE KING OF COMEDY, there’s an Adam Sandler in REIGN OVER ME. But sometimes the gamble really pays off with gold…Oscar gold. One of the biggest surprises in Academy history was the Best Actor win by Art Carney (then best known as one of the greatest sidekicks in sitcom history as Ed Norton in “The Honeymooners”) way back in 1974 for HARRY AND TONTO which may have paved the way for the Best Supporting Actor win by Robin Williams for 1997’s GOOD WILL HUNTING. Now comes a (mostly) dramatic film starring two, count em’, two actors best known for their comedic TV work, specifically being cast members of “Saturday Night Live”, both actually beginning their mult-year runs in 2005. I’m speaking of the very talented Kristen Wiig and Bill Hader. Now Wiig became a full-fledged silver screen leading lady in the smash hit BRIDESMAIDS while Hader has nabbed laughs in smaller roles in films like SUPERBAD and THE TO DO LIST. Now they both had supporting roles in dramatic films, Wiig in 2010’s ALL GOOD THINGS and Hader in the very recent THE DISAPPEARANCE OF ELEANOR RIGBY: THEM. And with the new release they aim for heart-strings while still occasionally grazing the funny bone as depressed siblings nicknamed THE SKELETON TWINS.
As the film begins, Milo’s (Hader) life is in a downward spiral. He’s an unsuccessful LA-based actor (now waiting tables), and a recent romantic break-up pushes him to a desperate act. Across the country, his sister Maggie is stopped from a similar act by a phone call concerning him. She flies out and convinces Milo to return to their hometown and stay at the house she shares with her husband, Lance (Luke Wilson). a dim, happy-go-lucky forestry worker. But things are not as simple as they appear back in the quaint village. Maggie is tempted to stray with her Aussie scuba instructor hunk Billy (Boyd Holbrook) while Milo re-connects with a fellow from high school, book store owner Rich (Ty Burrell). As time passes, Maggie and Milo try to nurture each other while often re-opening old wounds from their dark past.
The film’s revelation may be the superb performance of Hader as the surly, sarcastic Milo (well, he does have some of the best lines). One of SNL’s most gifted mimics and, like Dan Aykroyd and Phil Hartman, a dependable sketch “anchor”, Hader gives the film its main energy and beating heart. Milo can be frustrating as he tries to retreat from life, but during his moments of fun there’s few characters as engaging. Hader takes this often hangdog, mopey, damaged soul and turns him into a hero the audience roots for, and wants to protect. Luckily, disappointment hasn’t dulled his razor-sharp wit. His humor seems to re-ignite a spark in his dour sister. Wiig’s Maggie is not as obviously emotionally damaged as Hader’s Milo as he see her acting out mostly in secret. She’s trying to wear the mask of conformity (Halloween plays a big role in this flick), and be the good wife. Luckily Milo’s return snips the strings of that mask. Wiig shows us that inner conflict that rages through Maggie. We also see her soar upon the happy childhood memories that Milo is a reminder of. Wilson is endearing of the good-natured, optimistic, peppy average Joe (Maggie even refers to him as a puppy) who’s thrown a bit off kilter by the arrival of Milo and the bond between the siblings. His sunny attitude is somewhat challenged while encountering them. Another talented TV comic actor (best known as the doofus dad on “Modern Family”), Burrell also turns in great dramatic work as the small town guy whose world is unexpectedly upended by the return of Milo (like Maggie, he’s wearing a mask, too). His Rich feels free once more, but will not allow himself to follow through. Making an impact with just a few minutes of screen time is Joanna Gleason, as a woman from the twins’ past who uses passive aggression as a shield to deflect painful memories and “new age-y” buzz words to conceal her “toxic” behaviors.
Director Craig Johnson, working from the script he wrote with Mark Heyman, eschews any film making quirks and tricks in order to concentrate on the characters and the great ensemble acting. We get very brief, dream-like flashback sequences to show us the close ties of the two leads during childhood along with the influence of their mysterious, unseen (we only see him in a cheap mask…hmm) father. Perhaps due to their many years together at SNL, Hader and Wiig are able to come close to conveying that unspoken sibling bond. They know just how to push the other’s buttons, but are quick to swoop in when the other is hurt or threatened. They beam with joy while at play (a great dancing/lip-sync scene) and lash at in anger when secrets are revealed (Maggie finds out about Milo and Rich). THE SKELETON TWINS pulls back the curtains on the usually hidden horrors of society, depression, and shows us how two re-united people can strengthen their spirits and enable each other to embrace life once more. Sometimes these family ties are tougher than steel.
4.5 Out of 5
