After Lola’s miscarriage on her wedding day, she and her husband adopt orphaned twin siblings, Tin and Tina. However, the twins soon begin to exhibit strange and disturbing behavior, all influenced by their strict upbringing at the convent. Slow-burning and atmospheric, Tin & Tina uses the “evil child” trope to tackle the horrors of orthodox Catholicism and motherhood. While it does deliver on the bare bones of the conversations, the continuous disbelief that follows the provable, horrendous actions becomes tiresome. There is mention of Lola growing up in a convent, and the couple’s insistence on not having a disabled child (even though Lola is disabled) creates more discussions that are never finished. Neither the story nor the scare is memorable enough.