Film
Two Much
- Screwball comedy
- Romantic comedy
- Light-hearted
A 1995 romantic comedy where a Miami art dealer, desperate to juggle two sisters, invents a twin brother and impersonates both. It's a high-concept farce built on Banderas's charm and the audacity of its premise. Uneven but earnest, it's for anyone who loves physical comedy, '90s excess, and romantic schemes that spiral hilariously out of control.
If you liked this
Trading Places1983
Identity-swapping comedy with real stakes and chemistry. Eddie Murphy and Dan Aykroyd elevate a simpler premise into something genuinely clever, with impeccable timing and genuine laughs throughout.
But It's sharper and faster than Two Much—if you want something equally silly but less interested in sentiment, this delivers better.

Coming to America1988
Banderas energy in Murphy's DNA: one charismatic lead playing multiple characters across a broad comedy, charming everyone onscreen and using disguise as plot engine.
But Much longer and more committed to its own world-building. Two Much is scrappier and faster-paced by comparison.

The Pink Panther1963
Peter Sellers as bumbling inspector creates chaos while trying to solve a crime. Physical comedy, mistaken identity, romantic entanglement—all executed with precision and dead-pan genius.
But The humor is drier and more controlled. Two Much is broader and willing to be messier in service of romance.

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Breathless1960
Both build on the idea of reinvention and performance as a path to desire. The lover as actor, constantly shifting identity to stay wanted. Godard does it with existential weight; Two Much does it for laughs. Same shape, different temperature.
Godard's French New Wave classic about a small-time crook and the woman he loves. Jump cuts, improvisation, lovers on the run—it's where modern romantic cinema got its energy and style.
But Black and white, subtitled, essentially a essay on cinema that happens to be thrilling. Two Much is pop entertainment; this is art asking questions about love and identity.

More like this (8)
Noises Off...1992
Farce about a play within a play, where chaos multiplies with each act. Perfectly timed ensemble comedy with intricate plotting that rewards close attention.
But It's tighter and more technically sophisticated. Two Much feels more loose and improvisational by design.

Overboard1987
Goldie Hawn and Kurt Russell in a high-concept romantic-comedy setup: she loses her memory, he convinces her they're married. Charm and absurdity in perfect balance.
But Sweeter and less frenetic. Two Much pushes the physical comedy and scheme-spinning further into chaos.

Dirty Rotten Scoundrels1988
Michael Caine and Steve Martin as con men teaching each other their trade. Witty, elegant farce about deception and one-upmanship, with genuine affection between leads.
But More sophisticated and urbane. Two Much's Miami setting and scrappier energy are very different animals.

Ghostbusters II1989
Bill Murray, Dan Aykroyd, and company reunite for more supernatural chaos. Lighter than the original, with genuine warmth beneath the comedy spectacle.
But Ensemble-driven where Two Much is Banderas-centric. The '80s comedy tone may feel dated if you want something fresher.

Mrs. Doubtfire1993
Robin Williams as a man impersonating his children's nanny to stay in their lives. Same DNA as Two Much—one actor, multiple personas, romantic complication, sentimental core.
But Far more emotionally grounded. Two Much doesn't reach for the same pathos; it stays lighter and more detached.

Sixteen Candles1984
John Hughes touchstone about teenage desire, mistaken identity, and romantic chaos. Funny, warm, and genuinely romantic despite all the scheming.
But Teen-focused and genuinely interested in real adolescent anxiety. Two Much is adult, cynical, and more interested in elaborate plotting than emotional truth.

Stage Beauty2004
Both pit performance against authenticity, asking whether we can love the person or only the mask they wear. Two Much treats it as a romp; this film treats it as tragedy. Different answers to the same question.
Billy Crudup as a Restoration-era actor playing women onstage; Claire Danes as the real woman replacing him. Gorgeously layered meditation on performance, desire, and who gets to claim authenticity.
But Costume drama pace and register—serious, formally elegant, not remotely comedic. Two Much is frothy; this is substantial and historical.

Synecdoche, New York2008
Both center on a protagonist juggling impossible versions of himself to win love that can't be won. Banderas's Art makes us laugh; Kaufman's Caden makes us weep. The architecture is identical—creating parallel lives, until you can't remember which one is real. One is farce; the other is horror. Same engine, opposite fuel.
Charlie Kaufman's baroque, devastating meditation on an artist building an increasingly elaborate fake world inside a warehouse. Identity multiplication, romantic delusion, the performance eating the performer.
But Dense, difficult, willfully obscure, and emotionally devastating. Two Much is a breezy 118 minutes. This is three hours of unraveling despair dressed as metafiction.

People
Cast
Antonio BanderasArt Dodge
Melanie GriffithBetty
Daryl HannahLiz
Danny AielloGene
Joan CusackGloria
Eli WallachSheldon
Gabino DiegoManny
Austin PendletonDr. Huffeyer
Allan RichReverend Larrabee
Vincent SchiavelliSommelier- Jeff MoldovanGoon
- Joe HessGoon
Directing
- Fernando TruebaDirector
- Betty BennettScript Supervisor
Writing
- Donald E. WestlakeNovel
- David TruebaScreenplay
- Fernando TruebaScreenplay
Production
- Elaine J. HuzzarCasting
- Johanna RayCasting
- Angélica HueteProduction Manager
- Ricky SaccoUnit Production Manager