Did the Olsen twins ever make a great film? | Little White Lies

Did the Olsen twins ever make a great film?

13 Jun 2018

Words by Justine Smith

Two young children, a girl with long hair and a boy in a white shirt, standing in a wooded outdoor setting.
Two young children, a girl with long hair and a boy in a white shirt, standing in a wooded outdoor setting.
Four­teen years after Mary-Kate and Ash­ley stepped away from act­ing, we reflect on the sib­lings’ on-screen legacy.

Grow­ing up in the 1990s, Olsen twin fan­dom was unavoid­able. Even if you didn’t watch Full House, the pair had a bustling video career – a com­bi­na­tion of hol­i­day-themed made for TV fod­der and episode length adven­tures that involved mys­ter­ies and songs. Over a decade after they stepped away from act­ing, it’s time to reflect on their shared on-screen career and ask, did the Olsen twins ever make a great film?

Most films the Olsens made were nev­er screened the­atri­cal­ly, rel­e­gat­ed to the home video mar­ket and after­noon slots on fam­i­ly tele­vi­sion net­works. As the stand-out stars of Full House, it was clear that from an ear­ly age those man­ag­ing their careers sought to cap­i­talise on their cute­ness and cash in as long as they could. It seems unlike­ly that any­one could have had the fore­sight to imag­ine the Olsen Twins movie gravy train would run for near­ly two decades.

Ear­ly movies like Dou­ble, Dou­ble Toil and Trou­ble and To Grandmother’s House we Go rely exu­ber­ant­ly on cute­ness. With the twins hand­ed a few snap­py lines and expect­ed to quiver their bot­tom lip in a scene or two, thin nar­ra­tive threads allow for max­i­mum adorable expo­sure and min­i­mum effort. While these films have their moments, such as the meme-wor­thy scene where the twins tip a black New York busker some chick­en drum­sticks in To Grandmother’s House We Go, these films are most­ly unwatch­able. Even this moment is more mem­o­rable for the sheer sur­re­al­ism of forc­ing tod­dlers to be racist than any mea­sure of quality.

Of these ear­ly films, only one stands out as pass­able. It Takes Two is among the few the­atri­cal films the twins ever made. It’s a cheap Par­ent Trap knock­off where a set of iden­ti­cal strangers swap places and hope to unite their parental guardians in mar­riage. Both stretch their act­ing tal­ents with accents: Mary-Kate goes full New York as the fast-talk­ing Aman­da from the Bronx, and Ash­ley steps into the role of Alyssa, a baby socialite who inex­plic­a­bly has a British accent, in spite of being raised by an Amer­i­can father.

Both Kirstie Alley and Steve Gut­ten­berg step in as guardian char­ac­ters with a sur­pris­ing amount of chem­istry. They both give sin­cere and heart­felt per­for­mances as the two iden­ti­cal but not actu­al twins try to bring them togeth­er. The film was direct­ed by per­haps the biggest name direc­tor the girls ever worked with, Andy Ten­nant, who would go on to direct Ever After: A Cin­derel­la Sto­ry, Sweet Home Alaba­ma and Hitch, among others.

Over­all, the film works because the actors build a sin­cere rap­port and there are not enough bad moments to drag the rest down. Aside from an always wel­come food fight scene and a lot of good-natured pleas­antries, the film is still a dis­count Disney’s The Par­ent Trap. This stale effort nonethe­less marks the height of their cin­e­mat­ic efforts.

It would be near­ly a decade before their next film would have anoth­er the­atri­cal release. Mean­while, they’d make direct-to-video fea­tures like Our Lips are Sealed, where they go into wit­ness pro­tec­tion and live with a Kan­ga­roo in Aus­tralia, and Hol­i­day in the Sun, a fea­ture-length com­mer­cial for Atlantis Par­adise Island in the Bahamas.

Most of these films rely sole­ly on the cute­ness of the twins, and weak vari­a­tions on the odd cou­ple nar­ra­tive. There is a high empha­sis on the awk­ward­ness of being a pre­teen, and most of their films chan­nels in the relata­bil­i­ty of how uncom­fort­able it is to want to be pop­u­lar, find a boyfriend and do well in school. In spite of how gener­ic these por­tray­als of grow­ing up are, they also ring false, as the Olsen twins rep­re­sent­ed more of an aspi­ra­tional teen per­sona than any­thing remote­ly real or relatable.

The last film fea­tur­ing the Olsen twins as a unit, 2004’s New York Minute, is an odd­i­ty and feels like a log­i­cal end­point for their cin­e­mat­ic out­put. In the film, the Olsens play twins: one is a rebel musi­cian (Mary-Kate) and one is a straight A stu­dent (Ash­ley). The film takes place over 24 hours (exclud­ing an epi­logue set months lat­er), as the twins rush to accom­plish dis­parate goals and learn they’re not so dif­fer­ent after all. It is a very ear­ly 2000s’ affair, from the awk­ward ill-fit­ting fash­ion to the fact major plot points revolve around music pira­cy and a Sim­ple Plan concert.

The film is rep­re­sen­ta­tive of most of their work, albeit with a high­er bud­get. The pre­con­ceived notion of who the Olsen twins are and who they rep­re­sent does near­ly all the leg-work in the film and it seems quick­ly appar­ent that nei­ther sis­ter has either the dri­ve or the tal­ent to pull of com­e­dy or dra­ma. The film is a great cap­sule of a spe­cif­ic moment and a very par­tic­u­lar fan­dom but does not stand up as a movie at all.

Watch­ing New York Minute today, it is hard­ly sur­pris­ing that the pair grav­i­tat­ed away from the world of movies giv­en their appar­ent inabil­i­ty to bring depth and nuance to their char­ac­ters. Per­haps it was a symp­tom of being raised on cam­era in roles that relied on catch­phras­es and cute­ness rather than sin­cer­i­ty or nat­u­ral­ism. To be great actors, it seems like­ly they would have to unlearn most of what had been expect­ed from them since they were six months old: it’s hard to blame them for back­ing out.

Look­ing back on the Olsen twins’s act­ing career, a hand­ful of good moments stand out. But although their films are gen­er­al­ly geared towards a not-so-dis­cern­ing young audi­ence, and while it is easy to see why so many view­ers fell in love with their whole­some and sil­ly per­sona, not even nos­tal­gia on over­drive can make these movies seem bet­ter than they real­ly are.

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