The chemistry shared between Wiig and Hader is undeniably The Skeleton Twins' most endearing feature. Transcending their well-established comedy credentials and creating something deeper and more profound, both actors balance the delicate dichotomy of comedy and drama with poise and composure. Personified best during a lip-sync rendition of Starship's Nothing's Gonna stop Us Now, and at its worst during an impromptu scene in a dentists office where the consumption of laughing gas results in the loosening of lips, and sadly, also sphincters, their rapport is always electric, even if the screenplay fails to emulate their efforts.
Depression, statutory rape and female promiscuity are heavy issues for a comedy film to tackle, yet here they're all adroitly handled, and there's never the feeling they're being executed purely for kicks. At the same time Johnson routinely plays it safe, relying on prescribed lo-fi aesthetics, generic emotional triggers and an atypical indie-rock score that drones dispassionately in the background. Depicting the shifting malaise of middle-class America has become a well-trodden path for independent filmmakers and adding anything revelatory to this shallow and depthless issue is a hard task to pull-off - something apparent in the film's disappointingly mawkish finale. Ultimately, despite boasting two notable performances, the film's heavily conditioned script allows little room for movement, culminating in an enjoyable, but formulaic addition to the congested canon of contemporary first-world problem dramas.
Patrick Gamble | @PatrickJGamble