Fast-rising American singer Halle Bailey plays Ariel, a mermaid princess who defies her father by falling in love with a human prince.
Bent on following her heart's desires, Ariel makes a deal with the diabolical sea witch Ursula, who also hatches her devious scheme aimed at destroying everything the little mermaid holds dear.
Visually speaking, Rob Marshall's retelling of the classic animation is replete with awe and wonder.
Like James Cameron's Avatar, the aquatic life is brimming with numerous sea creatures and boasts colourful characters that leave you mesmerised.
When it comes to the story and the director's interpretation, The Little Mermaid doesn't do anything beyond the expected.
As the headstrong and naive protagonist, Halle Bailey is able to depict a character literally out of her element and the adventures she must undergo to win the love of her life.
While the lead star's efforts are commendable (especially her vocal ability), her acting doesn't quite show the range I envisioned. In this, she is not to blame as she worked with the script she was given.
The animal sidekicks aren't the scene stealers I thought they would be; Awkafina manages to trump the others every now and then but it felt like I'd already heard the jokes somewhere else.
As the sea King Triton, Javier Bardem looks imposing and has the required charisma but isn't given enough time to shine. The backstory with his late wife was barely mentioned and could have been shown on screen.
Jonah Hauer-King plays Prince Eric the way he is meant to. He doesn't do anything spectacular with the role and neither does he stumble in the portrayal.
Perhaps the most interesting character in the film is Melissa McCarthy's Ursula. I knew she would be fun to watch and I totally enjoyed how she ate up all her scenes.
The Little Mermaid doesn't break new ground among Disney's live-action retelling projects and it certainly is not the best of them despite what may be circulating online (to me, that title goes to The Jungle Book).
Conclusively, Halle Bailey's musical performances are worthy distractions from the fact that this is a good movie that many excited fans are calling great.
The Mouse House has done a good job but it has to do a whole lot more to justify the essence of live-action remakes.
Cole is a man who falls in love with an enigmatic woman named Sadie. He gets the shock of his life when he discovers that she is a secret agent.
The two of them are swept away on an international adventure to save the world before they can decide on a second date.
Despite the star power of the two A-listers headlining this spy movie, Ghosted ends up being something that looks like what was written by amateurs or teenagers.
From an overlong premise to Chris Evans looking like he was miscast, Dexter Fletcher's film seems plagued with unending pitfalls.
While Anna de Armas is no doubt eye candy material, I was shocked that she had zero chemistry with Evans and that her character is in no way memorable.
Right from when the duo gets thrown into the spy game, it becomes clear that there were almost no stakes involved (I literally found it hard to believe that they were in any form of danger).
In my opinion, Apple wasted a considerable sum on this mediocre project.
While cameo appearances are always welcome, they always have to add something to the story. In this case, all the unexpected stars who appear are just there to show the level of idiocy they can descend to.
Oh, and the villain of the film (who is a two-dimensional character with nothing to do but make half-assed threats) is played by an incredible actor whose talents are completely wasted here.
The action is totally subpar and while the movie had one or two moments where it looked like it would go somewhere, it finally fizzled out into nothingness.
Those expecting something very good should skip this. Film lovers who are cool with predictably cheesy stuff with boring dialogue can see it.
A coming-of-age tale revolving around a group of friends who have to walk different paths while growing up on the mean streets and neighbourhood of Isale Eko, Lagos.
Filmmaker Jade Osiberu is audacious with her interpretation of an engrossing story told from the perspective of a man caught in a world of crime, betrayal, and power.
Tobi Bakre stars as Obalola, a promising lad whose big dreams of leaving the crime-laden streets of Isale Eko, Lagos are dashed when his foster father is brutally murdered.
Growing up alongside his best buddies Gift (Adesua Etomi-Wellington) and Ify (Chike), Obalola soon learns that turning his back on the only life he has known is not as easy as he thought.
Gangs of Lagos is a gripping tale that sucks you right in from the very first scene; the cinematography is perfect and every shot and camera movement adds flavour to the plot, giving you a look into the slums of Lagos and those who run it as you've probably never seen before.
The characters are relatable, their motives and motivations make them well-rounded, and the actors all bring their A-games to sell their various roles.
I only have two issues with this film; one is that the action at certain points was disappointing (this has continued to plague Nollywood).
Secondly, I feel the character of Gift was left in the shadows a bit. Oba and Ify's backstories were explored so I expected to see the same with hers.
There isn't much to say about the film other than this; Osiberu is really shaking things up in the Nigerian film industry and I look forward to seeing more from her in the future.
Two women who have had several conflicts in the past find themselves at loggerheads again when they establish food businesses in the same vicinity.
Things reach a violent climax when it dawns on neighbours that the women will take the battle to any length.
I lowered my expectations before seeing this and looked forward to it as Funke Akindele said it was her farewell to Nollywood. I ended up disappointed.
Battle On Buka Street is a messy, repetitive comedy that didn't have to be as long as it is.
Despite its talented lead stars and a resonating theme, the film wallows in the predictable cycle of exaggerated antics that keep plaguing the comedy genre in the Nigerian movie industry.
Funke Akindele amazed me in Omo Ghetto: The Saga but here she seems to be a shadow of herself and was almost outshined by her co-star Mercy Johnson.
For Johnson, she works with a mediocre script; the result is a character who is arguably the most engaging but whose arc (which was supposed to be a big deal in the final act) is executed off-camera.
Nkem Owoh is a sight for sore eyes and the acting veteran does evoke laughter without trying to at times.
For the better part of the film, we are treated to several acts of buffoonery all in the name of comedy.
The unexpected tonal shift to drama threw me off guard but just when it seemed to work well in advancing the plot and developing the characters, the outlandish humour returns, climaxing in a rather abrupt ending that made me ask if it deliberately sets up a potential sequel.
In terms of technicality, Battle On Buka Street pales in comparison to some of Nollywood's best.
The set pieces are okay and the scene transitions are nothing special but the indoor scenes lacked the expected creativity.
As I mentioned earlier, this movie has resonating themes which Nigerians need to be reminded of, especially at a time when we are on the precipice of deciding our nation's fate in the forthcoming election.
Besides the above, Battle On Buka Street is yet another forgettable comedy in the long list of comedies Nollywood keeps churning out.
Jake and Neytiri flee with their family when invading humans arrive on Pandora on a mission of retribution.
Taking refuge with one of the water tribes, they must adapt to the new way of life as their relentless enemies close in on their trail.
Award-winning filmmaker James Cameron set the bar high when he crafted the visual wonder called Avatar in 2009. It was hard to think of ways to beat that.
Now, 13 years after the original, Avatar: The Way of Water is here and while it doesn't thump its predecessor, the world-building and focus on family dynamics make it stand out in its own unique way.
Unlike the first part where Jake and Neytiri were quick to rush into danger, here they have evolved as they have their children to think about.
The couple makes the painful but wise choice to flee their home to start a new life with one of the water tribes after vengeful marines come for them.
It doesn't take long before they realise that they can't keep running and the inevitable showdown leads to a heartbreaking third act.
Performance-wise, Sam Worthington and Zoe Saldana carry this film like the professionals that they are, with all the supporting characters doing some spectacular acting as well.
The CGI here is impeccable and the focus on the waters of Pandora shows Cameron's love of the sea.
While the cinematography is out of this world (pun intended), the time it takes on showing the world of the alien seas gives the impression that this is a documentary and not a movie.
The action here is better than the first and the stakes are way higher, with the fear that anyone could be a casualty at any moment.
So, is this sequel better than its predecessor? The answer to that is both yes and no.
Yes because Cameron's penchant for taking your breath away comes into play again and this time, it is taken up a notch. Plus, there is more drama here, with the acting going far beyond what was seen in the first part.
No, because when everything is weighed collectively, you realise that the sense of wonder that fans got from the first film can never be recreated.
In all, I would call this one of the year's best. After all these years of waiting, Cameron's passion for filmmaking shines through yet again.
After the untimely death of King T'Challa, Queen Ramonda, Princess Shuri, and the rest of Wakanda must defend their country from a new threat and a powerful new foe.
Before I saw this, I told myself that it would be an emotional moment for me due to the painful reminder that Chadwick Boseman isn't coming back.
I determined that I was not going to get teary-eyed but that proved to be almost impossible because director Ryan Coogler's sequel kept tugging at my heartstrings.
Story-wise, Black Panther: Wakanda Forever trumps its prequel. The themes of love, loss, grief, sacrifice, revenge and redemption steer the plot to places that make the movie one heck of a roller coaster of emotions.
The character development here is amazing and the acting is arguably the best ever seen in the MCU.
I tip my hat to Angela Basset as Queen Ramonda and Letitia Wright as Princess Shuri. For their out-of-this-world performances, they both deserve awards.
Visually, the film is dope. The special effects are what you would expect from a Marvel film and the action, though not as spectacular as I hoped, is an improvement from that of the first film.
The antagonist here (I choose not to call him a villain because he is not) is someone who many will relate to.
He is motivated by the need to protect his people and all that he holds dear and his actions, as terrible as they might be, show that he walks the grey area between good and bad.
Coogler's decision to focus on storytelling and drama makes this movie a triumph and I have a feeling that the late Boseman would be proud.
Black Panther: Wakanda Forever lives up to the hype and brought up a whirlwind of emotions in me at some point.
A job well done by Coogler and the rest of the team.
Based on Wole Soyinka's play, this is the story of a horseman who must sacrifice himself to serve his ruler in the afterlife. But sudden distractions lead to unexpected tragedy.
The late Biyi Bandele put in a lot of effort translating Wole Soyinka's literary work onto the big screen and while the final result is commendable, it is let down by its rather anti-climatic third act.
The story begins and you are drawn in from the very first scene. The set pieces are beautiful, the costumes impressive, and the characters all play their parts well.
Elesin Oba thrives when it comes to its dialogue; rich, poetic, and infused with unending proverbs and metaphors, the interaction among the characters is nothing short of amazing.
Odunlade Adekola is imposing and impressive as the King's Horseman. He does a pretty good job with the role. The only complaint from me is that ridiculous fake beard.
I almost didn't recognise popular singer Brymo when he was first shown on screen. As an artiste, he has shown talent but I never expected to be won over by his acting as well.
To me, the standout of this film in terms of performance is Shaffy Bello as Iyaloja. The scene where she reprimands Elesin Oba continues to stand out in my memory as one of the highlights of the third act.
I will not forget Deyemi Okanlawon who equally shines despite limited screen time.
Plot-wise, this film does well until the concluding path which fails to produce the expected effect. This is where a theatrical performance thrives whereas a film doesn't.
Soyinka wrote the book to be acted on stage and maybe that's the only place Elesin Oba can really be the masterpiece it ought to be.
Dwayne Johnson is Teth Adam/Black Adam, a man with god-like powers who is awoken thousands of years after everything he loved was taken from him.
Thrust into a world he barely recognises, the anti-hero unleashes his fury and vengeance on those who cross his path, drawing the attention of the Justice Society of America.
Sooner or later, Black Adam must decide to either be the one who ends up destroying the world or the one who saves it.
Right from when this project was officially greenlit, I couldn't wait to see Dwayne Johnson (one of my favourite Hollywood stars) play the unforgiving anti-hero.
But I was also sceptical about how the film was going to be helmed; superhero films (especially from DC) have been messed up and I didn't want the former wrestler to be involved in anything that would be mediocre.
Fortunately, my fears were totally laid to rest within the first ten minutes of sitting through 'Black Adam'.
One thing critics should remember is that this is first and foremost a superhero movie. That means it most likely would get mixed reviews.
If you can watch a flick that has someone flying around then you can suspend your disbelief and not rate the film like you would a normal drama.
This film grabbed my attention early enough and I had to try to keep up with its rather fast pace in the beginning but when things settled, it became a glorious spectacle.
Dwayne Johnson was truly born to play this role and it shows right from when he begins doing his thing.
The story is not remarkable (how many superhero films are?) and some of the main characters aren't fully fleshed out but 'Black Adam' excels in every way a movie of the genre should.
The action is literally pulse-pounding, the visual effects mind-blowing, and the main character is just awe-inspiring.
Director Jaume Collet-Serra proves how good he is when it comes to delivering jaw-dropping spectacle and I can't wait for the next chapter.
Besides Black Adam himself, Hawkman and Dr Fate are amazing (the other two in the Justice Society of America are cool too but can't be compared to the others).
That mid-credits scene was something I knew would happen and when it finally did, I still couldn't stop the big grin on my face.
'Black Adam' is dope and while critics won't find it good enough, they should know that this movie was made for the audience that really matters; the fans.
Kunle Remi stars as Saro, a young man who arrives in a village to earn a living. His weakness lands him in trouble and changes the course of his life.
I have watched Kunle Afolayan thrill audiences over the years with his outstanding movies. Unfortunately, 'Anikulapo' doesn't have a place among them despite his best efforts.
Kunle Remi and Bimbo Ademoye star in this tale of a man's tragic flaw, forbidden love and power. As the leads, they give exceptional performances but that isn't enough to catapult the film to greatness.
The opening scene made me cringe as a result of the poor CGI (a recurring issue in Nollywood) and while the costumes and set pieces are not bad, the locale didn't quite capture the ancient kingdom being portrayed.
I heard Afolayan purchased acres of land to film this project. Kudos, bro but it was quite evident that it was just constructed solely for this. It lacked the expected verisimilitude.
Kunle Remi is not an actor I know that well and apart from Afolayan's previous feature 'A Naija Christmas', I don't think I have seen him act before.
He plays the hero of the story very well, embodying a handsome fellow who can't escape the consequences of giving in to his weakness.
Bimbo Ademoye is also compelling here (when has she ever been otherwise). The chemistry between them is sizzling and I have a feeling that sex scene between her and Remi will be something fans will chew on for some time.
I found the pacing a bit slow at the onset as the director took his time in establishing the characters. Things pick up and become more interesting later on.
The conflict that sends the lovers into exile propels the film to a whole new dimension and I expected a series of events that would lead to a worthy conclusion. While the ending isn't bad, it left a lot to be desired.
The production value of this project somehow doesn't really shine through as I thought it would. The cinematography didn't exactly meet my expectations, and the visual effects are just laughable.
Nothing speaks Karma like a woman scorned and that proves to be the case for the protagonist in the final act. The story is good but the execution isn't anything spectacular.
Conclusion: This isn't Kunle Afolayan's best and it sure won't earn any standing ovation. But Kunle Remi and Bimbo Ademoye make it worthwhile.
Set in the African kingdom of Dahomey in the 1820s, this film follows the Agojie, an all-female group of warriors who must protect their land from both foreign and close threats.
Perhaps this is going to be one of the first reviews that aren't overwhelmingly positive but as a critic who must speak my mind, I don't hesitate to say The Woman King doesn't live up to the hype.
I looked forward to this film while being careful not to expect too much. I also avoided early reviews and got to see it at an advanced screening. Coming out of the cinema, I was left thinking, 'Is that what they could come up with?'
The above is not say that film is bad. It's not just that it is not good as the trailer makes it out to be.
The plot is quite engaging and the actors don't do badly (I will single out Thuso Mbedu, Lashana Lynch, and John Boyega as the obvious standouts).
Viola Davis is a great actress no doubt but her role here doesn't leave any lasting impression on me.
We are led to believe from the film's title that she is the protagonist (maybe I'm wrong in that assumption) but the movie actually belongs to Mbedu's character Nawi.
As Nawi, the young actress flourishes and astounds, leaving little else to be desired. She showed range and I couldn't get enough of her.
Lashana Lynch is equally amazing as the fierce but loving warrior Izogie, whose bond with Nawi helps make the plot more interesting.
As the proud monarch of the Dahomey kingdom, John Boyega is one heck of a scene stealer. I never knew he had such charisma, bringing humour to a rather serious role with such professionalism.
Apart from the aforementioned positives, almost every other thing in The Woman King is mediocre.
First off, the cinematography is a major letdown. I mean, I have seen better camera work in some Nollywood films. Brutal and harsh, but that's my honest take.
The dialogue is nothing out of the ordinary and the pacing is also a bit inconsistent.
Perhaps the most disappointing thing about this film is the action. The action sequences were plain dull and it was easy to see that most of the blows and kicks didn't land despite the impressive choreography.
The film would have us believe that the Agojie are an army but I never saw anything beyond a handful of soldiers numbering about 40 at most.
Before I forget, the antagonist (played by Jimmy Odukoya) is a major presence and came off as one fit for the film but sadly doesn't get adequate screen time and his backstory isn't even explored.
In all, The Woman King is far less than it should be, never rising beyond a mediocre interpretation despite committed performances from its talented cast.