A husband and father squares off against his inner demons following a devastating tragedy in the tense and bracing “The Twin”. Directed by J.C. Doler, this psychological horror thriller is as clever as it is unsettling, using well established tenets from the horror genre in its smart, incisive, and terrifying examination of mental health, childhood trauma, grief, and forgiveness. And that only scratches the surface of the film’s thematic richness.

Getting “The Twin” made had its share of hurdles. Its genesis can be traced back to a short film Doler made with his wife, Taylor Bracewell. After being approached about turning it into a feature film, Doler spent the next several years hammering out the script through nearly thirty drafts. He finally found the root of his story in an old Irish legend. But then came the challenges of funding, and after that the COVID-19 pandemic. But his diligence paid off and the film finally came together.

Following a heart-wrenching prelude, the story (co-written by Doler and Paul Peterson) follows Nicholas Schultz (Logan Donovan) whose life crumbles after he and his wife Charlie (Aleska Palladino) lose their young son Jacob (Tripp Toupal) in a tragic accident. While both struggle to cope, Nicholas takes it especially hard, going as far as attempting suicide. Charlie is able to save his life and eventually has him placed in a state institution.

A month passes and Nicholas returns to their home – an old farmhouse that has been in his family for years. Returning to the scene of the accident is difficult enough, but Nicholas’ problems only seem to compound after Charlie declares she’s leaving him. It’s a jarring revelation and we’re tempted to judge her actions as insensitive and self-serving. But we learn Charlie has been crumbling under her own suppressed grief and she desperately needs time away for her own mental wellbeing.

That leaves Nicholas alone with his guilt, sorrow, and trauma in a house where painful memories linger in every corner. But to help, and as a condition of his release, he’s required to receive routine home visits from a psychiatrist, Dr. Andrew Beaumont (Robert Longstreet) whose services include therapy, making sure Nicholas takes his meds, and “light” hypnosis. The two don’t instantly hit it off. But Andrew is both patient and sympathetic, having gone through some trauma of his own.

But the unease sets in as we witness Nicholas being haunted by disturbing nightmares. Then he begins hearing malicious voices that later evolve into terrifying visions. It eventually leads to him coming face to face with his fetch which is defined in the opening script as “a supernatural double or apparition of a living person.” His fetch (or twin) is a chilling and gruesome manifestation of his inner dark side which blurs the lines between his crippling mental anguish and reality.

Doler’s direction impresses in a number of ways. Take how he employs a variety of well-used devices from the horror genre and imbues them with a sharp psychological edge. Not only does it play with Nicholas’ ability to discern what’s real from what’s in his head, but for a time it challenges our perception as well. Through it we’re treated to some grisly imagery that includes gnarled bodies, milky eyes, and necrotic fingers – all fun reminders that we’re watching a horror movie. Yet it’s one with a piercing allegorical bite.

Perhaps more than with any other genre, good horror movies come in numerous forms. Some of the best are able to unsettle us while finding compelling ways to speak to the human condition. “The Twin” certainly does that through its smart script, sharp direction, and gripping performances from Donovan and Palladino. The film may not fully develop all of its ideas, but it tackles weighty subject matter while still entertaining us like good old-fashioned chiller.

VERDICT – 4 STARS