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 Johnson, who previously made 2009’s True Adolescents, co-wrote the screenplay with Mark Heyman. While its repeat pattern of emotional crises followed by periods of calm could perhaps be called schematic, the film’s conventional aspects are entirely overshadowed by the richness of its central characters and their funny-sad complications.

It opens with lonely failed actor Milo (Hader) slashing his wrists in the bathtub before cutting to Maggie (Wiig) as she contemplates a large handful of pills. Interrupted by a call informing her that the twin brother, from whom she has been estranged for ten years, has been hospitalized following a suicide attempt, she flies out to Los Angeles for an uncomfortable reunion. “Look at me, another tragic gay cliché,” deadpans Milo, trying to brush it off as a drunken melodramatic impulse.

Maggie coaxes Milo to come and stay with her a while in their upstate New York hometown, where her breezily uncomplicated husband, Lance (Luke Wilson), provides a warm welcome. “I can’t wait to be the creepy gay uncle,” responds Milo when his brother-in-law announces that they’re trying to have a baby. The shorthand communication and shared humor that’s specific to brothers and sisters (especially gay brothers) is drawn in deft strokes.

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While the coolness between the siblings lingers, the connection is nonetheless palpable, underscored by quick cuts of them playing dress-up as kids, when their father dubbed them “the gruesome twosome.” Their dad’s suicide is in large part the cause of problems that have accompanied both Milo and Maggie into adulthood. But their self-absorbed mother (Joanna Gleason) likely didn’t help, as evidenced by the new-age spiritual practitioner’s superficial displays of concern during a hilariously ghastly flying visit. “I’m sending you the light,” she coos without irony while departing.

Unbeknownst to Maggie, Milo begins stalking his first love, Rich (Ty Burrell), hoping to rekindle a relationship whose imbalance is revealed only gradually. Meanwhile, his sister succumbs to the attentions of her hunky scuba instructor (Boyd Holbrook). She confesses the self-sabotaging impulses of her extramarital forays to Milo, admitting the secret behind her failure to conceive a child with Lance. “He’s good,” says Milo of her husband. “Maybe good isn’t your thing.”

As the twins renew their closeness, they also regain intuitive insight into one another’s pain and sense of failure. That makes it harder for them to avoid openness, even if friction continues to surface as we learn the cause of their estrangement. Johnson and Heyman’s script is smart enough not to trim away all the untidy edges of their damaged lives, but it points them in the right direction in a genuinely satisfying final act.

The film is punctuated throughout by exhilarating interludes that show Hader and Wiig at their best: loosening up over nitrous oxide in the office where Maggie works as a dental hygienist; revisiting their childhood Halloween antics, with Milo in splendidly unflattering drag; and best of all, lip-synching to Starship’s “Nothing’s Gonna Stop Us Now” as he attempts to pull her out of a funk.