Nollywood Movie Reviews

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.

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.

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.

I went to the cinema with an open mind as I did not even watch the trailer for this film directed by Dimeji Ajibola and produced by Vincent Okonkwo.

The major draw for me was the combination of Jim Iyke and Mercy Johnson; I was eager to see how they would play off each other and having seen Passport, I say it was a wise decision casting them in the lead roles.

As Oscar, Iyke once again gives off the vibe of the kind of character he is known for playing; arrogant, spoilt, and temperamental.

Oscar's pairing with the trash-talking loudmouth known as Kopiko (Johnson) results in unending clashes between the two, which is the movie's greatest strength as the comedy is what holds this rather mediocre film together.

Story-wise, Passport doesn't have a lot going for it. We have two people from opposite sides of life brought together.

Their shared experience working together teaches them some of life's valuable lessons and they find something neither of them expected.

While the above is good, the execution is something that has played out in Nollywood times without number.

Johnson's Kopiko character is perhaps the best thing about this film. The actress has comedy running in her veins and apart from the occasional jokes that don't land and the expected 'overacting', she steals every scene.

The antagonist is an interesting character, one I would have loved to see more of or have his backstory explored. Since comedy is the goal here, I guess that is easily forgiven.

The cinematography, for me, does not really measure up to what we see in Nollywood these days. Only a few aerial shots and one chase scene piqued my interest.

In the end, Passport was made to do one thing; make audiences laugh and have a good time. While its execution isn't outstanding, it does what it sets out to do thanks to its two leads.

The Set Up 2 continues the story of Chike and Grace as they navigate the underworld of drug trade, business secrets and professional trickery while trying to stay alive amid new different obstacles they now face.

The film is a follow-up to the events of the first part and is written and directed by Chinaza Onuzo.

Grace (played by Kehinde Bankole) now has a child and the conflict begins when Usi (Nancy Isime) kidnaps the child so as to ensure that Chike (Adesua Etomi) does her bidding. Grace and Chike reunite to get back Grace’s daughter and take down Usi once and for all.

I liked that the story actually looked like it knew where it was going. It showed originality and a flair that Nollywood seems to have forgotten it can muster.

I loved the costumes, especially Nancy Isime's bodysuit. It was really hot. A big thumbs up to the wardrobe and make-up department.

I think the lighting and scenery choice was exciting as it projected exactly what we'd like to see in Nollywood movies.

I also loved the casting choices as it was exciting to see many of Nollywood's sweethearts on the big screen once again.

The movie however leaves a lot to be desired as it fails to live up to the expectation and thrill I got from its trailer.

Firstly, the choreography was a constant eyesore. I shook my head through most of the action sequence. They could have done better, it was that bad.

Also there were some scenes that were grossly unrealistic in a real life setting. For example, how do you suddenly just let go of someone you've been gunning to kill for virtually most of the movie, just like that.

I think characters were also underutilised. The writing felt lazy and it failed to really show the strength that we all know this rich cast could conjure.

For people who are not as picky and choosy as me when it comes to movies, you'd probably enjoy this movie.

But for someone like me, it pains me, but this is not a movie I'd go to watch a second time.

Hey You Movie follows the story of Abel (Timini Egbuson) and Bianca (Efe Irele) who meet on a sex link-up website called “Fans Alone”.

They meet in real life but Abel is an extremely shy and nerdy person.

Meanwhile, Bianca is a pro: an absolute expert on the Fans Alone website where she makes the sexual wishes of her clients come to pass as she meets them online.

However, things begin to take a drastic turn when Abel (Timini Egbuson) falls in love with Bianca (Efe Irele).

The acting is the spice of the movie. Timini has grown so much as an actor and it is beautiful to see.

Also, the connection between him and Efe Irele cannot be ignored; they made the sex scene look real.

Stan Nze is a brilliant actor; he was the comic relief in the movie and did it well for the overall plot development.

Additionally, the set pieces are gorgeous and the costumes add to the aesthetic appeal. The cinematography is also top-notch.

Hey You proves to be the most sexual Nollywood movie in 2022. 

Viewers who find sexual scenes disturbing on TV are advised to ignore this one as it is rated 18.

Play Network once again produces an unnecessary remake and the final result is a film that could have gone somewhere but ends up being all over the place.

While Glamour Girls isn't as bad as the critics are making it out to be, it embraces style over substance, with too many subplots and different threads that fail to tie into a satisfying conclusion.

The title pretty much sums up the movie; girls who want a taste of a better life use what they have to get what they want. 

It's all fun and games until a murder threatens to destroy them and everything that they have built. 

The storyline is basically a rehash of every 'runs girl' film ever made but the script is elevated a bit by some impressive acting from Nse Ikpe-Etim and Sharon Ooja.

The cinematography is okay; good shots, camera angles and scene transition work well. The music which comes across as distracting occasionally majorly helps to set the mood and tone as the plot unfolds.

The film's undoing is its inability to focus on some of the many subplots it has. Some characters are never quite developed while others are more or less one-dimensional.

Perhaps the movie's greatest flaw is the issue with the flash drive(s) in the end. For the life of me, I still can't understand how one flash became two without any plausible explanation.

Play Network's remake is flashy and stylish but gets sapped into its own convoluted plot.

Ikpe-Etim and Ooja are the best parts of the film but even they aren't enough to stop the movie from sinking into an abyss of its own making.

Two narratives drive the plot of The Wildflower, Bright and Enterprising Rolake (Damilare Kuku) gets a chance to work at a leading architectural firm as a personal assistant to the CEO Gowon Williams (Deyemi Okanlawon) whom she looks up to and comes to totally worship, but it turns out he has an ugly side; he is a serial rapist and he takes advantage of her on a business trip.

On the other hand, Rolake’s neighbour, mama Adaolisa (Toyin Abraham), endures domestic abuse at her husband’s hands until tragedy strikes one day and he kills her and flees, leaving behind their two daughters (Adaolisa and Cecilia) whom Rolake takes upon herself to care for. While Rolake is on the business trip, Adaolisa also narrowly escapes being raped by a sexual predator. In the midst of these events, selfless Rolake has to be there for the kids while dealing with her own trauma and searching for justice. 

At last, a movie that deals with real-life Nigerian issues. The Wildflower properly captures the life of common Nigerians and the harsh realities faced by vulnerable women whether at home or the workplace and the effects it has on them and the people around them.

Director Biodun Stephen is able to bring the script to life without unnecessarily complicating the story. The idea of showing the two focal rape events at the same time works well and lets it resonate better although there are issues like incoherent scene changes and over-extended scenes, especially the scenes with Rolake and her boyfriend. 

It’s always great to see stories like The Wildflower’s, in an industry where it is rare to see films without sensationalist tendencies. The main plot and subplots are well detailed and structured with character developments explored to reasonable extents- the plot goes straight to the point without taking unnecessary twists and turns.

The writer intended to pass a message and they succeed, although the story is rushed towards the end, so some details are left out:  how can Gowon still give Rola’s boyfriend a job in a company he has been suspended from? and we are left wondering where Rola’s family is in all of these? 

With the film having not so many low or high points, the cast put in average but convincing performances. Deyemi Okanlawon plays the villain again in a role similar to his character in Blood Sisters; Damilare Kuku, author of “All The Men in Lagos are Mad” and Toyin Abraham (The Prophetess) embody their roles well.

While the quality of cinematography has improved generally, it seems like Nollywood might not be getting out of the scourge of pointless drone shots anytime soon. Cinematography is an important tool of storytelling in filmmaking and every shot should have a purpose in order to capture moments meaningfully. 

Although The Wildflower gets boring towards the end, it proves to portray common Nigerians’ realities without shying away from local nuances; it makes good drama and the film’s intended message is passed. 

The Man for the Job movie is a crime drama that follows the adventure and trials of Joseph (Uzor Arukwe), a hardworking  young man who navigates his family and work life which folds up by the plot of an overly optimistic startup CEO.

It is set in modern Lagos where the fintech era is blooming and really gives insight into the life of crime and betrayal led by financial tech groups.

Joseph, a driver for a popular ride-hailing service, meets a beautiful tech guru like himself Zinnat (Temi Otedola) and offers to help her with a tech problem from work that has been plaguing her for a while. 

He solves her issues only to find out his code was the foundation of this tech product and Zinnat works for a company he had once rejected.

Not much is clear at first but mysteriously, funds begin disappearing from customers' accounts and now they are plagued with a new dilemma and headache.

Who is stealing the money?

The storyline is intriguing as it probably is one we haven't quite gotten before. Unfortunately, it just suddenly falls below standard..

I believe the production team could have done better, especially with the wealth of talents at their disposal. 

Ini Edo is grossly underused and she doesn’t quite show the diva aura we all know she possesses. Same for Uzor Arukwe.

The only two laudable cast members are Temi Otedola and Ali Baba; they naturally upped the game. 

But if the foundation is destroyed what can the righteous do?

All in all, I quite enjoyed the scenery, costumes and cutting edge cinematography.

I'd recommend you all to watch, I can't wait to be proven wrong. Sincerely, I want to be proven wrong because I believe they did all they could and I'm only just being a grumpy know-it-all

Director Bolanle Austen-Peters takes on a societal issue revolving around the Christian religion in Nigeria. To a large extent, she succeeds and the actors deliver, with only the ending almost ruining the good work.

As the layered protagonist, lead star Akah Nnani does a fine job, making you see the world through the eyes of someone whose distaste for the faith seems to haunt his life.

First off, Samuel (Nnani's character) is not Mr. Goody Goody; a fact that he knows after deliberately choosing to be the direct opposite of what his father (a popular cleric) wants him to be.

It is the hero's imperfection, inner struggles, and journey that make him a compelling character, one that is mostly lacking in Nollywood movies nowadays.

Osas Ighodaro and Atlanta Briget Johnson are remarkable as two of the supporting characters who have the most influence on the protagonist. I couldn't fault their performances, especially the latter who displayed a variety of emotions convincingly despite her relatively short screen time.

The theme of religion vs faith is depicted in a way that comes across as naturalistic. Many will no doubt take offense to this rather touchy subject but I feel the director did a commendable job.

The plot progression is good, and we see characters grow (as they should) throughout the length of the film. 

The tone shifts frequently from light-hearted to serious, to comical, and then continues in that cycle. While that is not a bad thing, it would have been better to strike a balance as that didn't happen.

The comic relief is done quite well, and this is where another significant supporting character, Rekya, comes in. 

Played by the talented Dorcas Shola Fapson, Rekya represents the very thing that the hero wants to be. His association with this rather amoral person shapes and defines him.

As Rekya, Fapson is simply amazing, stealing the show every time she appears. Constantly walking the dangerous path, her character is one of the best things about the film.

I have said a lot of positive things about The Man of God and may not have much to say about its downsides. But one is the speedy romance between Samuel and Joy. While there was chemistry between the actors, the love thing felt forced.

Another negative thing about the film is what I would call a lazy and convenient ending (I won't get into details so as not to spoil it for movie fans). 

Besides the two points above, The Man of God makes for a worthy piece of entertainment while being educative and instructive.