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If you’re going to juggle despair and humor in a story about two emotionally unstable, occasionally suicidal adult siblings who keep tripping up on the disappointments of their lives, it’s tricky to find a tone that’s neither too whiny nor too glib. But Craig Johnson’s delightful The Skeleton Twins gets it right. Warm, funny, heartfelt and even uplifting, the film is led by revelatory performances from Bill Hader and Kristen Wiig, both of them exploring rewarding new dramatic range without neglecting their mad comedic skills. This one seems a strong contender to join the club of Sundance discoveries that went on to hurdle the indie niche.

The closest recent equivalent to what Hader and Wiig achieve here -- both in solo moments and through the brilliant chemistry of their many scenes together -- is Julia Louis-Dreyfus’ affecting performance in Enough Said. All three Saturday Night Live alums initially honed their instincts for comic timing and offbeat line readings in sketch comedy. Watching as they stretch unaccustomed muscles on the more serious side of the spectrum provides a special kind of pleasure.

Johnson, who previously made 2009’s True Adolescents, co-wrote the screenplay with Mark Heyman. While its repeat pattern of emotional crises followed by periods of calm could perhaps be called schematic, the film’s conventional aspects are entirely overshadowed by the richness of its central characters and their funny-sad complications.
It opens with lonely failed actor Milo (Hader) slashing his wrists in the bathtub before cutting to Maggie (Wiig) as she contemplates a large handful of pills. Interrupted by a call informing her that the twin brother, from whom she has been estranged for ten years, has been hospitalized following a suicide attempt, she flies out to Los Angeles for an uncomfortable reunion. “Look at me, another tragic gay cliché,” deadpans Milo, trying to brush it off as a drunken melodramatic impulse.

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Sibling bonds are fertile territory for indie dramedies, but “The Skeleton Twins” distinguishes itself from the pack with a pair of knockout performances from “Saturday Night Live” veterans Bill Hader and Kristen Wiig. This character-driven crowdpleaser also reps a step toward the mainstream for sophomore helmer Craig Johnson (whose little-seen mumblecore debut, “True Adolescents,” toplined Mark Duplass, an exec producer here). Prime acquisition bait should have no trouble scoring in specialty release, with a shot at crossover success thanks to the winning work of its stars.

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The lead players’ “SNL” baggage actually works in their favor, both in the effortless way they establish a shared history for estranged twins Milo (Hader) and Maggie (Wiig), and in the pic’s savvy use of comedy as a coping mechanism for hard times. The duo’s chemistry was previously showcased in the Sundance-premiered “Adventureland,” but the biggest surprise for audiences expecting plenty of laughs will be just how effectively both thesps handle the weightier dramatic material in the screenplay co-written by college pals Johnson and Mark Heyman (“Black Swan”).

The dramatic stakes are quickly established in an opening sequence that sees both characters contemplating suicide. Aspiring actor Milo lives in Los Angeles and is fresh out of a failed relationship, while Maggie is a New York dental hygenist in a seemingly happy marriage to gregarious guy’s-guy Lance (Luke Wilson). Of the two, Milo is the one who goes through with it, slitting his wrists in a bathtub. It’s a phone call informing her that her brother is in the hospital that pulls Maggie back from the brink. She rushes to his side and, after some initial awkwardness, the ice is broken by a memorable gag involving “Marley and Me,” effectively demonstrating their shared sense of humor.

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Whether it's Tina Fey and Amy Poehler riffing in what feels like the secret language of twin sisters at the Golden Globes or the big-brother/little-brother vibe of Jimmy Fallon and Seth Meyers, the show's younger alumni now radiate the back-and-forth familiarity of siblings who actually like one another. Maybe that explains Kristen Wiig and Bill Hader's effortless chemistry in The Skeleton Twins.

Wiig and Hader play a troubled sister and brother grappling with the long-festering emotional fallout of their messed-up family. Their mother (Joanna Gleason) is a dizzy New Age healer with her head in the sand when it comes to her kids' problems. And their father committed suicide when they were children — an exit that's all too understandable for Wiig and Hader's now-grown-up-and-miserable Maggie and Milo. In fact, in the opening moments of the film, Maggie is prevented from swallowing a fistful of pills by a call informing her that Milo has just tried to kill himself by slicing his wrists in the bathtub. Did I mention that The Skeleton Twins is a comedy?

Hader, though, is the film's real surprise. It would have been easy for him to turn Milo into a gay cartoon like his after-hours alter ego Stefon. But he resists the temptation to go for easy laughs and broad strokes and delivers something darker and deeper. It's a shockingly vulnerable performance, one of the best I've seen all year.

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About the Director

 Craig Johnson’s first feature film, True Adolescents, starring Mark Duplass and Melissa Leo, premiered at the 2009 SXSW Film Festival. He has written two films for 20th Century Fox and was a member of the inaugural Fox Writers Studio. He holds an MFA from NYU's graduate film program and a BA in theatre from the University of Washington. The Skeleton Twins is his second feature.

Well, it is and it isn't. Maybe I should also mention that Milo's suicide note reads, ''To whom it may concern, see ya later'' with a smiley face underneath. Or that the ringtone on Maggie's phone when she gets the call from the hospital is the Growing Pains theme. Like Laura Linney and Mark Ruffalo in 2000's You Can Count on Me, Wiig and Hader play estranged siblings who haven't spoken for a decade but who reunite and slowly realize that as much as they can't stand one another, they're also the only ones who truly get each other. They're two broken souls secretly hoping the other might have the spiritual Krazy Glue they need.

Milo, a gay, depressed wannabe actor in Los Angeles, returns home to New York's Rockland County and moves in with Maggie and her sunny, frat-boyish husband, Lance (an excellent Luke Wilson). Both Maggie and Milo are masters at keeping secrets and sabotaging whatever happiness they manage to inadvertently bring into their lives. But for a while at least, they fall back into being the same kids who shared confidences, played hers-and-hers dress-up, and finished each other's sarcastic, smart-ass jokes. In the film's funniest scene, Wiig and Hader do a lip-synch duet to Starship's schmaltzy anthem ''Nothing's Gonna Stop Us Now.'' As wince-inducing as that reads in print, it's impossible not to smile watching it on screen.

Of course, we know that whatever caused Maggie and Milo to stop talking is bound to resurface. And it does, right on cue. The main problem with the film is that too many of the beats created by director/co-writer Craig Johnson (True Adolescents) feel as programmed as the outline of a screenwriting manual (especially the maddeningly improbable ending). Still, the two costars elevate the film beyond formula. Their onscreen rapport is infectious and believable. Wiig has done this kind of heavy lifting with a light touch before in both Bridesmaids and Friends With Kids. Hader, though, is the film's real surprise. It would have been easy for him to turn Milo into a gay cartoon like his after-hours alter ego Stefon. But he resists the temptation to go for easy laughs and broad strokes and delivers something darker and deeper. It's a shockingly vulnerable performance, one of the best I've seen all year.