WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Megamind To all those who have watched it: I hope you enjoyed it as much as I do.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Jenni Devyn Worth seeing just to witness how winsome it is.

davidcarniglia Interesting late film noir, let down by some plot and casting flaws. David Janssen plays the quasi-detective character Tom Adler with an affected booziness; he's not imposing enough to make this Marlon Brando-mumbling-in-a-slick-suit thing work. I do like that his job is nebulous; he seems to have to explain himself repeatedly. It's as though, in true noir fashion, he's really not sure who or what he is.As others have noted, Dina Merrill looks positively middle-aged when she's supposed to be just twenty in the Tokyo flashback. Thankfully, Agnes Moorehead, William Demarest, and Jacques Aubuchon inject Twenty Plus Two with enough life to sustain interest.I like how the reviewer pierrotlunaire0 pointed out the plot holes. I can sort of see Tom falling for Linda all over again, especially as she keeps throwing herself at him. But it's just too convenient that she's also friends with Nikki, his other lost love. Since we never see the 'grown-up' picture that her mom shows him, we don't know that he then suspects that Nikki is Doris. At least that part of the mystery works well.Then there's Brad Dexter's Leroy, who is the actual murderer, going free and easy because he framed Doris. The cabin-in-the-sticks denouement is stagey; but for all of its exposition, it still doesn't add up. How is it that Dane, of all people, doesn't recognize Doris/Nikki until she tells him who she is? Why did he have to kill his buddy anyway? Doris had fled, knowing she had shot Lane. She's still in hot water, and, given the mores of the times (in 1948, even in 1961), her pregnancy makes it worse for her.Lane would have to fear repercussions from her wealthy family; but she'd probably be so relieved when she discovered that she hadn't killed anyone, that nothing more would happen. On the other hand, given that Dexter's character recreates himself as Lane, and became a celebrity, he should've at least been under suspicion as a rapist, if not a murderer.Well, if we can squint our perception of the plot, there are those larger-than-life performances from the supporting cast to entertain us. The flasback sequence is masterfully set up by its ascending webs of smoke signalling Adler's reverie. Thanks to the black and white filming, we not so far from the smoky, boozy, hat-wearing late 40s noir golden age. The editing is pretty good too; we're not allowed to get too comfortable before sweeping into another scene. The exceptions would be the interlude with Agnes Moorehead, which was so good it even made Jannsen look important, the cool 'interview' Tom has with the down-and-out bum in the bar, and the scene in the cabin, which dragged a bit. I'd have been happier with Doris and Tom's scene under the tree giving us a little more, and then letting the shoot-out happen quickly.The music was irritating at times. Kind of like the nervous demeanor Janssen displays when he's not mumbling. Like others, I wonder what the title refers to. The better noir movies have abrupt, dangerous sounding titles that hint at what we're going to see. Other than a presumption that Doris is about twenty years old when she's in Tokyo, there's no twenty, or two, or twenty-two of anything here. Still, a fun movie, with a good premise and some fine scenes.

michaelg-784-603194 This is not the worst film I have seen, but it is among the most incoherent. My two stars are for splendid over-the-top cameos by the great William Demarest and the great Agnes Moorehead and a valiant try by Jacques Aubuchon. What are we supposed to make of an allegedly crack investigator who relies entirely on research by others and wildly improbable coincidences? What are we to make of the Jeanne Crain character whose only role is to look lovely, introduce the "hero" to another woman, reunite passionately with said "hero," and then vanish without trace? What above all are we to make of our hero's deep love for the Dina Merrill character when he fails to recognize her when sitting next to her and talking to her on a long plane flight? The story is ludicrous, the lovely Dina Merrill is seriously miscast, most of the male actors are stiffs, the denouement is absurd, and none of this farrago makes any sense at all.

Ed-Shullivan This certainly should not be classified as a real "thriller" but, as a mystery film it was a decent watch. I was intrigued to hear the story behind special investigator Tom Adler's (David Janssen) American born geisha girl Nicki Kovacs (Dina Merrill). The story has flashback scenes to when Tom Adler was a lieutenant stationed in Japan when he meets Nicki Kovacs at a Japanese nightclub.. Nicki is one of the private dancers/geisha girls at the nightclub who provides the sombre looking Tom with an ear to listen to his woes, and a couch to sleep on overnight. By morning Tom has fallen in love with the mysterious Nicki but he loses touch with his war time crush and over the following decades he cannot get her beautiful mysterious face out of his dreams and thoughts.Do not expect any James Bond or Mike Hammer physical action scenes as David Janssen is not your action Jackson type of detective. No, Tom Adler is more a wussy heartbroken type of detective who is good at his job at finding missing persons to which his firm gets a handsome reward for finding long lost loved ones. In this film, ironically enough Tom Adler is having a difficult time finding his own long lost love, his American born geisha girl Nicki Kovacs.No spoiler here. Suffice to say that Twenty Plus Two is a decent mystery film with a decent ending to which I give the film a decent 6 out of 10 rating.

mackjay2 David Janssen was an actor who never seemed to be acting. He had a natural, guy-next-door style that works to make a viewer at ease with his characters. Thanks to Janssen's style, TWENTY PLUS TWO works pretty well. The plot of this near-noir is very convoluted, but the director keeps a steady pace and there is enough incidental interest to avoid confusion or boredom. When a Hollywood secretary is found murdered, Tom Alder (Janssen), a "finder of missing persons", is hired to investigate the murder, but quickly sees a link between the secretary and a the long-missing daughter of a wealthy family. Complications involve some colorful characters: Leroy Dane (Brad Dexter), a big movie star, Mrs Delaney (Agnes Moorehead) the missing girl's mother, Jacques Pleschette (Jacques Aubuchon) a shady figure who tries to hire Tom to find his missing brother. All these actors give top drawer performances, with Moorehead a standout for the way she takes complete control of her single scene with Janssen. Excellent too is Dina Merrill as Nikki (her Tokyo-set flashback with Janssen is quite impressive). Also fine in the cast are Jeanne Crain, Robert Strauss, and William Demarest, doing a convincing turn as a down-and-out drunken newspaper man. The only real problem with this engaging film is Gerald Fried's score. It's basically good, and suited to the material, but the main theme, scored for big band, is too brassy and intrusive at too many points. Too much spoiler here must be avoided, but suffice it to say this film could almost be called a lesser VERTIGO, minus Hitchcock's touches of genius. It's unclear what the title refers to, but the story is engrossing enough. Watch this one for the main cast members.