Nollywood has gone through various phases in its generic development, which have influenced certain production practices. The argument is that most of the prevalent production conventions have been occasioned by the circumstances that surrounded the advent of the industry, which is privately-driven and has serious mercantilist underpinnings. One of such approaches is that three or four films, with the same plot, are packaged, not as parts but as stand-alone films with different titles. This practice has created situations where, rather than help the audience to grow with the industry, viewers are exposed daily to stories that confuse them. The fact is that every well-made film has a storyline with the beginning, the middle, and the end. Extensions of storylines to subsequent parts are made clear to viewers, as the scenes would have been set for such. In this study, three films, namely, Twins but not Brothers (Anosike, 2014), Twins in Sorrow (Anosike, 2014), and Battle of the Twins (Anosike, 2014), have been selected for critical analysis to substantiate the position that, the production of films, not as sequels and not indicating such, ends up confusing viewers. It is a practice reflective of the unscrupulous 'trader mentality' of the executive producers in Nollywood, which needs to be checked by the regulatory bodies. The submission is that even if films are to be packaged as sequels, production conventions need to be followed to enhance the content of such films.