Noutions Good movie, but best of all time? Hardly . . .

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

funkyfry I enjoyed this little "caper" film a lot, despite the fact that its story is extremely improbably and lightweight. It presents an excellent example of "fun noir" -- it does not delve into the soul of the post-war disillusionment, but it features many other tropes and styles that would make this genre popular in retrospect. The interplay between Liz Scott and Edmund O'Brien is the high point of the film. There are many scenes where it's impossible not to laugh out loud as each tries to come off as more hard and cynical than the other. However, the ending of the film is much too pat (who is really going to so easily forgive the con, as this millionaire?). Terry Moore is cute and hilarious as a nympho who gets turned on when O'Brien pretends to be a burglar (previously she had failed to notice him no matter what he did). This film is no champion, but it's a winner.

Spikeopath Two of a Kind is directed by Henry Levin and written by James Edward Grant, James Gunn and Lawrence Kimble. It stars Edmond O'Brien, Lizabeth Scott, Terry Moore, Alexander Knox, Griff Barnett, Robert Anderson and Virginia Brissac. Music is by George Duning and cinematography by Burnett Guffey. Plot has O'Brien, Scott and Knox try to con a rich old couple that their son, who disappeared when he was three, has resurfaced in the older body of O'Brien. Thus they hope to get the $10 million inheritance due to the heir upon the death of the parents… It all starts so very well, Scott's sultry blonde hunts out O'Brien's shady player to do a major con and he falls for her feminine whiles hook line and sinker, even agreeing to have his little finger mangled in a car door for the con cause. Sadly this is where the picture falls apart and unfurls in a lightweight manner. Interesting possibilities are ignored, such as Moore's sprightly niece character who likes to straighten out bad men (it ends up playing as something that should be in a Cary Grant screwball) and a murderous plot that threatens to make the ending more lively (by this time the O'Brien/Scott pairing has become sickly nice), to leave us with what turns out to be a quite repugnant ending. Guffey's black and white photography is crisp but just like the film itself, it really isn't noir at all. Levin and the cast try hard, but saddled with an unadventurous screenplay it rounds out as a minor B movie of little substance. 5/10

Martin Teller Lightweight noir about a con where Edmond O'Brien pretends to be the long-lost son of a millionaire. The movie is fun but never goes to the dark places it seems to hint at. Lizabeth Scott is set up to be a great femme fatale (the scene where she ropes O'Brien into the scheme and gets him to make a brutal sacrifice is the highlight of the film) but her character fizzles out. Fans of con artist flicks will be disappointed as the plan doesn't have the intricate details that make them enjoyable. Although it's an enjoyable film (O'Brien especially), it all wraps up far too neatly and without much sizzle. I did enjoy the sleazy subtext of Terry Moore as the "good girl" who gets turned on by bad guys. When she meets O'Brien, you can read "rape fantasy" all over her face.

Robert J. Maxwell A feckless guy (O'Brian) is swept up in a scheme to have him pose as the long-lost son of a millionaire. This could easily have been a deep, dark exploration of human nature but it's not. Any doubts about its quality or nature are dispelled when O'Brian must have the tip of his little finger crushed and removed so as to resemble the hand of the absent millionaire's son.How is the scene handled? O'Brian puts his finger in the crook of the car door before Lizabeth Scott reduces it to pulp. He lights up a cigarette, puts it in his mouth, positions the finger, the door crushes it, and he squints a little bit.The whole movie is that way. Nothing is dealt with seriously. O'Brian is a madcap wisecracker. Everyone smiles happily as they discuss bilking the rich guy. The only true evildoer is Alexander Knox. Wily, you know, but no sense of humor. And the couple run off happily together.It's a divertimento. An hour and a half of amusement and slight interest.