'Twinless' review: Dylan O'Brien doubles down in a messy but mesmerizing two-hander

Courtesy of Roadside Attractions

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Shedding his “Maze Runner” heartthrob persona for something far thornier, Dylan O’Brien sinks his teeth into James Sweeney’s offbeat dramedy “Twinless” with a performance that’s as layered as it is fearless. Gone is the easygoing charm that once defined him; here, he’s raw, volatile, and completely captivating. It’s a reminder that O’Brien isn’t just a former YA franchise star but an actor who thrives when the material lets him stretch.

The film itself is a peculiar beast. Sweeney, who writes, directs, and co-stars, loves nothing more than yanking the floorboards out from under his audience. His story starts as a fairly straightforward tale of grief before zig-zagging into stranger, funnier, and riskier territory. “Twinless” lives in that tension, constantly teetering between heartfelt sincerity and near absurdity. It’s a tightrope walk, and while the balance wobbles, it’s also what makes the film feel alive.

O’Brien takes on dual roles as Rocky and Roman, twin brothers who couldn’t be more different. Rocky is an unapologetic queer free spirit, bold and unfiltered, while Roman is restrained, repressed, and altogether ordinary. The contrast is striking, and O’Brien nails both with a precision that never feels gimmicky. When Rocky is suddenly killed in a car accident, the film pivots hard, setting Roman adrift in grief, and into the orbit of Dennis (Sweeney), whose oddball fixation on twins borders on unsettling. His insistence on forging a connection with Roman makes us uneasy, yet Sweeney ensures the impulse doesn’t feel entirely hollow or exploitative.

“Twinless” is, by design, a niche movie with a very specific rhythm. Sweeney leans into his fascination with the idea of absence: what it means to lose not just a loved one, but the person you were born alongside. The inclusion of “Vanishing Twin” syndrome theory adds an extra wrinkle, giving the film an almost mythic underpinning. At the same time, that hyperfocus can push characters into the background, occasionally turning them into vessels for Sweeney’s thesis rather than fully breathing people.

The film also takes some stylistic swings, not all of which connect. A pivotal sequence lets the camera draw more attention to itself than to the performances, turning raw emotion into something a little too performative. Yet even in its missteps, there’s an audacity to “Twinless” that commands respect. Sweeney never plays it safe, and O’Brien meets him stride for stride, delivering some of the best work of his career.

Odd, moving, occasionally frustrating, but never boring, “Twinless” is a messy, singular little movie that sticks in your head. It’s a story about loneliness, connection, and the weird ways people fill their voids. And if nothing else, it proves Dylan O’Brien is ready for a second act, one that’s far more interesting than anyone might have predicted. For adventurous viewers, pairing it with this year’s “Friendship” would make for one hell of a double bill.

Grade: B-

TWINLESS is now playing in theaters.