The Twits is one of those movies where viewers will either click with it or not. For fans familiar with Roald Dahl’s story, the titular couple remain delightfully vile yet oddly sympathetic. For newcomers, however, Mr. and Mrs. Twit (voiced by Johnny Vegas and Margo Martindale) appear as two humans at their worst—mean-spirited, petty, and oblivious to the flaws in their own partnership. They’re less a Gomez-and-Morticia duo and more like Wednesday and Pugsley without the sibling bond, united by mischief but lacking the familial charm.
Enter two orphans, Beesha (Maitreyi Ramakrishnan) and Bubsy (Ryan Anderson Lopez), whose immediate connection shows they care more for each other’s welfare than anything else. On the brink of adoption into separate families, the children are caught in the fallout of the Twits’ latest schemes. Bubsy’s potential parents withdraw after chaos literally spills all over them. And as the story unfolds, the orphanage itself risks closure. The cost of maintaining it is high, underscoring just how precarious life can be for children in such situations.
The film expands the universe further, introducing the Muggle-Wumps, a family of monkey-like creatures from Loompaland who are kept in a cage and denied even basic exercise. This adaptation also adds new environments to highlight just how far the Twits will go in their depravity. Twitlandia, their amusement park, is hardly a place anyone sane would enjoy—though the Addams family might relish it. The elements of the grotesque and visceral are everywhere, giving the audience plenty to shudder at.
Mrs. Twit is a Texan, a choice that feels jarring within the shared universe of Dahl’s works. The musical numbers by David Byrne and Hayley Williams, while energetic, fail to leave a lasting impression. Though these changes should modernize the story, they sometimes clash with the lore and tone that make the original so memorable. This can feel especially jarring, and cultural references—like why people from the Lone Star state are framed negatively—may not land for all audiences.
The Twits’ misdeeds are sometimes overshadowed by spectacle, but for new viewers, their wickedness is unmistakable, and their ultimate fate is satisfying, even if it lacks the biting subtlety of the source material.
This remake emphasizes the harsh realities that orphans face, reminiscent of the 80s Masterpiece Theatre anime series and what MediaOCD has been releasing recently under the Ruined Childhoods label. They show where childhood struggles demand resilience far beyond a child’s years. In this sense, the story’s themes remain timeless. Even if not every viewer immediately connects with the narrative, the imagery sticks—and the production team excels at showing just how despicable the Twits truly are. Vegas’s performance as Mr. Twit adds a touch of familiar charm, evoking a playful energy not unlike Gru, which keeps the wickedly funny moments grounded.
This movie benefits from a second viewing, allowing audiences to appreciate it for what it has become rather than what it once was. While none of the musical numbers stand out—feeling more forgettable than impactful—the film succeeds in showing just how despicable the Twits are, and the visual storytelling alone makes the experience memorable. In the end, The Twits is a bold, grotesque, and occasionally jarring reimagining that rewards patience and attention to detail.
3 Stars out of 5
The Twits Movie Trailer
