Twin is essentially Midsommar and Boy, and yet not as much fun as this mashup might make it seem. Palmer plays Rachel, a woman who wasn’t even allowed to develop character before sinking into unimaginable grief after one of her twin boys, Nathan, died in a car accident. To leave the pain as far behind as possible, Rachel, her husband Anthony (Stephen Cree) and their surviving son Elliot (Tristan Ruggeri) fly to Finland, where the Anthony family is from. Almost immediately, Rachel finds herself embroiled in bizarre cultural upheavals, including seemingly innocuous rituals like a wedding swing that turns malevolent and a local British eccentric who warns her things aren’t what they seem. And then Elliot starts talking about how Nathan didn’t really leave. In fact, Nathan wants to return.
Taneli Mustonen directs Palmer to one of those raucous, always tense performances that actively repel any attempt at realism, and yet he doesn’t replace it with camp, leaving the poor actress in one of those corners where you can always Feel her game, but never feel her emotions. At least some efforts are made with her, which cannot be said about the other two members of her family. Anthony is a non-character, a boring sounding board for Rachel to take her mind off her worries about her son, who just plays creepy baby notes until the fear of jumping kicks in.
The grief of losing a child should push normal people into situations where they don’t feel welcome or even sure the world around them is sane. Yet the «Twin» never wants to reckon with this displacement, or even use it to cause real fear, simply exploiting grief instead of revealing how immediate death in someone’s life can push them beyond any mental or emotional limit. To be honest, there’s too much focus on «Gemini» to suggest that he even considered any of these general issues. Twin just treads water, B-movie style, until it comes to a deep end. And here everything is drowning in the lack of ambition and execution.
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