The Twin



The twin

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“The Twin” is essentially “Midsommar” meets “The Boy,” and yet not as fun as this mash-up might imply. Palmer plays Rachel, a woman who doesn’t get even an ounce of character development before she’s sent headlong into unimaginable heartbreak after a car crash kills one of her twins, Nathan. To leave the pain as far as possible, Rachel, her husband Anthony (Steven Cree) and their surviving son Elliot (Tristan Ruggeri) fly to Finland, where Anthony’s family is from. Almost immediately, Rachel is thrown into a bizarre cultural whiplash, including seemingly harmless rituals like a wedding swing that turns malicious and a local British eccentric who warns her that things aren’t what they seem. And then Elliot starts talking about Nathan not really leaving. In fact, Nathan wants to come back.

Taneli Mustonen steers Palmer into one of those breathless, always cutting-edge performances that actively push back against any attempt at realism, and yet he doesn’t replace her with camp either, leaving the poor actress in one of those bends where we can always To feel his game but never feels his emotions. At least some we make an effort with her, which is more than can be said for the other two members of her family. Anthony is a non-character, an annoying sounding board for Rachel to bounce off her worries about her son, who just plays creepy childish notes until the alerts jump.

The grief of losing a child must push normal people into situations where they feel unwelcome or even certain that the world around them is sane. And yet “The Twin” never wants to consider this displacement or even use it to produce real scares, simply exploiting the grief instead of unpacking how the immediacy of death in someone’s life might affect it. away from any mental or emotional edge. Honestly, that gives “The Twin” too much credit to suggest that it even considered any of these set questions. “The Twin” just walks on water with B-movie style until it hits the deep ending. And that’s where it all drowns in its lack of ambition and execution.

On Shudder today.

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