Twits: Stream or Skip?
Currently streaming on Netflix, Twits opens with an almost whimsical, Disney-like feel, complete with a sweeping orchestral score and choral harmonies. But then the charm dissipates, replaced by a mix of grotesque imagery and uncomfortable humor, reminiscent of something, well, unpleasant. This animated feature adapts Roald Dahl’s somewhat dark 1980 children’s book about a couple, Mr. and Mrs. Twit, trapped in a toxic marriage. The film expands on the original with more sad characters, including orphans, and—if you’re feeling cynical—a distorted political commentary. Co-directors have crafted a blend of humor that leans heavily into crude jokes, some landing flat while others miss the mark entirely.
Key Points
Dahl, in his writing, had a particular disdain for beards, which makes their prominent role here hard to ignore. The film starts in the surreal setting of an unkempt beard, where Mama Nomi (Emilia Clarke) spins a grim bedtime tale about the Twits, a nasty couple living in the fictional town of Tripellow. Mr. Twit (Johnny Vegas) expresses affection through mean-spirited tricks, while Mrs. Twit (Margo Martindale) responds in similarly nasty ways. Together, they share a rather troubling dream of opening Twitlandia, a theme park that seems likely to expose its patrons to various infections and diseases. The rides are, let’s say, less than hygienic, likely making them more appealing than some real-life amusement parks.
Then there’s a scene where Mama Nomi announces, “It’s song time,” prompting a protest from her child. Despite the child’s claims that it’s just one song, in actuality, there are three—none of which stand out very much. Composer David Byrne is credited, but you’d hardly know it from the forgettable melodies. As the turquoise character Mugglewump (voiced by Natalie Portman) takes the stage, it’s confirmed: this is indeed real, and not a mere hallucination.
In the backdrop, twelve-year-old Bisha (Maitreyi Ramakrishnan) and her friend Bubsy (Ryan Lopez) are orphans dreaming of a better life. After Twitlandia gets shut down, the Twits’ careless actions flood the city with disgusting liquid hot dog meat, impacting families in tragic ways. The narrative follows Bubsy and Bisha as they explore the Twits’ compound, where they discover a creature named Mugglewump. The film suggests that the Twits harness Mugglewump’s tears as an energy source, which, to be honest, raises a lot of ethical questions.
As Bubsy and Bisha try to free Mugglewump, the Twits decide to run for mayor, leading to a rather chaotic debate against the incumbent Wayne John John John (Jason Mantzoukas), who ends up, well, in quite a messy situation. This plot twist, while absurd, hints at something deeper within the narrative.
Films it Reminds You Of: Twits feels like an exaggerated, nausea-inducing mashup that straddles the line between maniacal chaos and dismal storytelling, evoking echoes of Cloudy with a Chance of Meatballs without the charm. It can’t quite measure up to the delightful quirkiness of films like The Willoughbys or The Mitchells vs. The Machines.
Worthy Performance: Talented actors like Martindale might sustain their careers with roles like this, but quality isn’t necessarily guaranteed.
Memorable Dialogue: Mr. Twit gets hilariously confused about the term “diorama.”
Mr. Twit: I’m playing with diarrhea!
Mrs. Twit: Do you really think if you stuff your face with diarrhea, Mugglewump will somehow return?
Our View: While fart jokes can be a hit, it seems Twits overwhelms viewers with a barrage of them and other unsavory topics like hairballs and bugs. The overall experience feels like an uphill battle against a tide of icky humor, which, intentionally or not, mirrors the essence of Dahl’s literature. However, the added orphan subplot feels manipulative and distracts from the film’s chaotic energy. Yes, it’s designed to look rough around the edges, perhaps in response to the polished nature of other animated features. Yet, this roughness does little to clarify its artistic goals.
The film struggles on several fronts—disparate plot lines, forgettable music, generic characters, and a haphazard structure. While there are attempts to infuse lessons about empathy and love towards the end, it often feels rushed or even tacked on. By the time any meaningful resolution appears, the narrative’s been lost in a sea of gags that feel past their prime.
Our Call: In keeping with the film’s tone, Twits seems more a muddled effort than anything coherent. Perhaps better skipped.
