Losing a twin is a singular type of tragedy. Believe me, I know as I was left twinless when my identical brother Greg died of AIDS in 1995. The death of a twin who’s born with you, looks like you, and is your constant companion in childhood, is a loss that few can ever know and those who do know it, well, they likely never fully overcome such a tragedy. That’s the starting place of the new psychologically-driven, dark comedy entitled TWINLESS. It’s written by, directed, and stars James Sweeney, a triple threat in our modern cinema. Here he plays Dennis, a gay man who joins a support group for those who’ve lost a twin where he meets Roman (Dylan O’Brien), a straight man who is still mourning the loss of his twin Rocky. Together, Dennis and Roman start a friendship that fills voids in each other’s lives. And from there, the film turns into an exceptionally witty, moving, and often tense character study of how people process loss and grief. You’ll find all kinds of twists and turns in the mix as well, none of which I will reveal here as to not spoil the many rug pulls that await those venturing out to the cinema to see this very clever movie.
At first, the losses of the two men define the core of their relationship, but soon, the genuine chemistry the experience together turns into an exemplary friendship. Dennis and Roman really like each other, hanging out, shopping for groceries together, and attending various attractions around Portland, OR, including hockey games. The duo has more than a bit of an odd couple dynamic to them as Dennis is soft-spoken, slight of build, and cerebral, while Roman is a little thick in both head and body. He’s a gym rat, one who’s trying to better his physique as well as his mind. The only problem is that he’s not the sharpest tool in the drawer. That’s one of the sayings that Dennis bungles saying “brightest tools” instead. Roman is overly sensitive about such shortcomings too and has a quick temper, but that’s where Dennis is so well-matched for him. Dennis not only knows how to gently corrects Roman’s mistakes, but he helps him temper his more angsty urges as well.
It’s wonderful to see a narrative spend so much time on a friendship and it seems that there is hope for both to recover from their losses, but Sweeney’s narrative has much more in mind. Thus, there are those many twists and turns I eluded to at the start of my review. Suffice it to say, both Sweeney and O’Brien are superb playing all of it. Sweeney is a droll and subtle actor, ensuring that the eccentric Dennis remains likable even at his most evasive or finicky. O’Brien does a splendid job bringing Roman to life in the contemporary scenes, and Rocky in flashbacks too. Additionally, Aisling Franciosi makes her turn as Marcie into a marvelous supporting performance. Marcie is Dennis’ coworker, as upbeat as he is guarded, as much the life of the party as he is a wallflower.
Sweeney makes wonderful use of Portland, OR as the story’s location, highlighting its quirkier characteristics, as well as the chilly vibe the city gets during its colder months. The director is terrific with his cast too as even the smallest of speaking role makes a strong impression. The only real issue I had with the film is that the story becomes less about being twinless and more about general loneliness and longing. That evolution makes for a more relatable film for everyone, but it doesn’t make as much out of twin specifics I was expecting. Yes, I am too close to the subject, but the film does short-shrift its very premise as Roman’s relationship with both Dennis and Marcie starts to dominate the screen time.
Does that make what Sweeney, et al. have done here any less of an accomplishment? No, but it does turn the film from a dissertation on a very specific kind of sorrow into more of a study about how people of any stripe learn to adjust, move on, and find new people to love. It’s wonderful, just not quite as singular as the title suggests.
