Thor alongside his buddies Valkyrie and Korg reunites with former girlfriend Jane (who has become the Mighty Thor) to stop a powerful foe known as Gorr, who has made it his mission to annihilate all gods.
Along the way, the hammer-wielding Asgardian wrestles to keep his emotions in check to stay focused enough to defeat an unstoppable antagonist.
Finally, the fourth chapter of Thor Odinson is here. While it certainly isn't as spectacular as netizens are making it out to be, those who loved Ragnarok will have a total blast with this one.
Director Taika Waititi is one crazy and creative dude; his comic genius is all over the place yet again. He employs the wacky comic element that most fans loved about the previous film and takes it up a notch here.
Thor: Love and Thunder will make you fall in love with its heroes, laugh at its almost endless humour, almost tear up when it gets emotional and cheer after its awe-inspiring second end-credits scene.
But while it has all the above, it somehow fails to ascend to the heights that I expected it to due to a somewhat lacklustre beginning, disappointing fight scenes in the first battle sequence, and some unexplained plot details.
I am a fan of both Marvel and DC Comics and Thor as a character is my favourite from the former brand. For me, no other actor embodies the superhero like its lead star Chris Hemsworth.
Talking about Hemsworth, the dude's amazing body is something to behold (fans are no doubt looking forward to that infamous Zeus strip scene).
Every gigantic muscle and the insanely buffed-up physique is a testament to the hard work the actor put in to go beyond how big he was in Ragnarok.
But more than the physical, Hemsworth as Thor once again drives this movie; as the hero, he has never been more conflicted, more vulnerable, and more lovable.
Despite the jokes that often come out of his mouth (the character has become a comedian apparently), I was glad to see that his fiery temper and rash nature shined through yet again. It is the last two that make him imperfect.
Tessa Thompson as Valkyrie is adorable and badass when she fights but I was disappointed that she wasn't fully utilised as I expected.
Taika Waititi's Korg is just there to mostly provide the comic relief as usual. While that is acceptable, I hoped to see him be more than just the funny guy.
As Jane Foster/Mighty Thor, Natalie Portman is one of the best things in this film. She easily blew away whatever doubts I had that she would make a compelling fighter besides Thor.
At a time in her life when she needed something to make her feel alive, the hero's former lover becomes so much more than his sidekick, eventually stealing the spotlight in the final battle scene.
The antagonist Gorr is one scary and powerful dude made believable and layered by Christian Bale's remarkable acting.
When I first saw him in the trailers, I asked myself what a guy with a sword could do to harm Thor and his formidable allies. The first fight he had with them made me see him in a totally different light.
There is some major character development with Thor and Jane here, and that makes the plot far better than the previous Thor movies.
The action in the second and third acts is a major improvement from that of the first, with Waititi sparing no expense in delivering some of the best set pieces ever seen in the MCU.
In terms of visuals, Thor: Love and Thunder delivers and while it certainly ranks as the best of the Thor films, it doesn't climb to the lofty heights I thought it would.
A remake of the original focusing on the lives of ladies whose affiliation with the wealthy and powerful gives them the affluence they desire.
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.
The intriguing story of three generations of Nigerian women and their experiences with assault...
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.
Set four years after the events of the last movie, the latest film in the franchise sees Owen Grady and Claire Dearing go on a mission to rescue their adopted daughter Maisie, a girl who holds the key to unravelling the mystery behind using the dinosaurs' genome for groundbreaking medical research.
Along the way, the couple must survive killer henchmen and the expected rampaging prehistoric creatures whose very existence continues to threaten the entire human race.
Colin Trevorrow's latest entry into the blockbuster franchise is arguably his best; the action and dinosaurs make for spectacular sequences and the return of the original cast members is the icing on the cake.
As a fan who revers the first two films by Steven Spielberg, I have never expected Trevorrow to be able to capture that first magic and wonder and that has helped me accept the latter's flawed but commendable interpretations.
In Dominion, Chris Pratt returns as dino handler/trainer Owen Grady, the protagonist who finds himself at the forefront of a fight against a bioengineering corporation called Biosyn after his foster daughter is kidnapped.
Owen and Claire (Bryce Dallas Howard) fight their way to Biosyn's facility in the attempt to rescue their daughter as the world seems to collapse around them following the dinosaurs doing what they do best.
Jurassic World Dominion is first of all an action sci-fi so those expecting something more than the predictable would be sorely disappointed.
There isn't much to expect in terms of acting but that is pretty decent. The script has several plotholes and the science mumble-jumble comes across as annoying, but all that is forgiven when the viewer is treated to some over-the-top action scenes.
The CGI or animatronics (it's possible both were used, I don't know) are pretty convincing. I particularly enjoyed a scene where one of the creatures stalk Owen and another person by navigating the freezing waters beneath some thin ice.
The return of Sam Neill, Laura Dern, and Jeff Goldblum had the expected nostalgic effect. A scene where they meet Owen, Claire, and their daughter gave me goosebumps as it obviously symbolised the convergence of the old and the new.
The one thing that seems to be an issue with these kinds of flicks is how all the people you root for always find a way to make it out alive despite the countless threats they face while the big bad dude always gets his comeuppance.
Die-hard fans of the Jurassic World films and those who love big-budget action movies or dinosaurs will also get a kick out of it as I did.
While Jurassic World Dominion was fun for me, I sincerely hope this is where the popular franchise ends as I have a feeling the producers wouldn't want to make fans get tired of it by churning out more movies.
Doctor Strange teams up with the Sorcerer Supreme Wong and a young girl named America Chavez to get to an object of immense power while being pursued by a most powerful foe.
Marvel movies rarely disappoint and I came out of the cinema with a feeling of immense satisfaction. The second chapter of the eponymous character is dark, pulsating, emotional, and spectacular.
There is no need to go into the plot as the different trailers have already given fans a glimpse of what to expect. However, let me state that there are many surprises in store for them.
One of such surprises is the villain; the person is someone I didn't expect and the unfathomable power displayed by that individual was just awe-inspiring.
Strange (Cumberbatch giving yet another impressive performance) is now more powerful but even his magical skills pale in comparison to the threats he faces this time around. Added to that are some of the issues from his past that confront him at different times.
Benedict Wong as Wong gets a bigger role here and gets a chance to shine even more than he did in previous MCU films.
The young actress who plays America Chavez does the role justice but I was disappointed by the range of her power (which was teased as something great but ended up being limited).
As is Marvel's custom nowadays, several major characters from the comics appear here (I assure fans that they will be delighted), albeit for a brief time.
Strange's love interest Christine Palmer (Rachel McAdams) has a more important role here and comes to his aid at a crucial moment.
Also, Wanda Maximoff (Elizabeth Olsen) who wowed fans with the WandaVision show goes even a step further, embracing her Scarlet Witch alter ego.
Director Sam Raimi knows how to make films of these kinds, splashing in a little dose of horror while keeping you glued to the screen with mind-blowing spectacle after mind-blowing spectacle.
The plot is well-written and even though there is humour, it is very minimal compared to the overall dark tone.
All the actors give their best in terms of role interpretation; Cumberbatch and Olsen are amazing and should be applauded for their remarkable acting.
The action is engaging, the visual effects are jaw-dropping, and the score is hauntingly surreal.
I lowered my expectation so as not to get disappointed but after seeing this film, I believe even if I hadn't, I would have still given a positive review.
Doctor Strange in the Multiverse of Madness is undoubtedly one of the best of the recent MCU films, packing a lot of punches in terms of entertainment value and having an emotional resonance that many fans will relate to.
Good job, Sam Raimi. Good job.
The movie is a crime drama. It chronicles the adventures of an industrious young man who gets ruffled by the plot of an excessively optimistic startup CEO as he fights to accomplish his family and work-life balance.
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
Akah Nnani stars as Samuel, a conflicted young man who forsakes his harsh Christian upbringing to live the life he wishes. As he gets older, he realises that his soul remains caught between the world he is used to and the life he left behind.
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.
A fast-rising music artist’s picture-perfect life suddenly goes haywire when she accidentally switches places with a doppelganger. All attempts to prove her identity are futile, and she is subjected to a whole new life without the glitz and glamour. Will she lose herself or embark on a journey of self-discovery?
Movies in the cinema these days are filled with both standard and substandard movies. The fear of many cinema goers revolves around whether or not they get value for their money or they come home with drooping heads and a familiar distaste in their souls.
A lot of times, you go to the cinema not sure if the movie will blow your mind or leave you angry.
With this in mind, I matched on to the cinema to either meet euphoria or distaste like old friends.
‘I am Nazzy’ is the story of a female superstar, Lady, who isn’t comfortable with the celebrity life and all the scandals and expectations that come with it.
She decides to visit a therapist, and there, she is advised to take a break from all the troubles and expectations of celebrity life. Unfortunately, her manager isn’t going to have any of that.
Coincidentally, Lady meets her look-alike, Nazzy, in the bathroom, and although they are both shocked to see how much they look alike, it seems like a perfect opportunity for Lady to execute her plan.
She makes a deal with Nazzy to swap identities for 24 hours so that she can have the break that she so wishes.
It seems like a welcome idea to Nazzy who had also always wanted to have a feel of the celebrity life; something around the premise of 'The Princess And The Pauper'.
So, the two ladies switch roles, and this becomes the genesis of our tale.
For one, ‘I am Nazzy’ started on a high note as the first scenes were captivating enough. The storyline isn’t a bad one at all. It could hold the audience from the beginning to the end of the movie to a certain extent.
I cannot say the same about the directing because it seems like the director still has a lot of things to learn.
There are so many unbelievable things in the film that would make you ask if the filmmaker thinks we are too unintelligent to notice. Well, we saw them all.
To mention a few, with that kind of remarkable difference, how did only the driver and close friend know the girls swapped? Even Naza’s mother didn’t know she wasn’t living with her own daughter?
The editor of the film sure has a long way to go in mastering his skill. Nollywood has grown beyond an actor playing different roles staying far from each other. We have seen these characters hug in other films, so it was shocking to see that Lady and Naza barely stood in close proximity throughout the movie.
One thing the director did get right with ‘I am Nazzy’ is the selection of characters. The acting is excellent, and if not anything, it will keep you glued to the screen till the end of the movie.
Chinonso Arubayi is effortlessly a beautiful actress, and seeing her play those two characters so well is applaudable.
Jide Kene and Jimi Odukoya also did great. Ada Jesus also deserves an accolade, and of course, IK Ogbonna knows how to hold his characters well.
Chioma Nwosu is always a delight to watch, and thanks to Buchi the Comedian for giving us the light tone in the movie.
The wardrobe and makeup should also not be left out of commendation as I couldn't exactly point to a scene where they missed it.
Location sourcing did their jobs with premium capabilities as it was refreshing to see the length the Nigerian movie would go to actualise their plans.
Regardless of the flaws in ‘I am Nazzy’, it isn’t so much of a bad watch, and for ratings, it will get a 6/10.
Michael Morbius is a doctor desperate to find a cure for his affliction. Throwing caution to the wind, he splices the genes of vampire bats and creates a solution that changes him forever, enhancing his physical abilities. But with the good comes the bad as he develops a craving for human blood.
At the risk of being bashed, I daresay Morbius is a genuinely entertaining film that has been grossly misunderstood or is deliberately being slammed by naysayers.
Jared Leto brings the Marvel Comics vampire legend to life as Daniel Espinosa takes the reins as director in a film that should please comic book fans who see it without unrealistic expectations.
Tapping from its source material, this has a pretty generic plot; a sick genius develops a cure for his ailment and becomes an enhanced being. However, his gift comes with a curse and as he races against time to try to stop himself from becoming a monster, the cops close in on his trail.
My advice to movie fans is simply this; do not mind the harsh reviews, just try and see this for yourself and you might be pleasantly surprised as I was.
For the first time (as far as I know), the vampire action is portrayed in a different way and this is obviously why a lot of naysayers are saying the action sucks. I disagree as I enjoyed the fight scenes and the special effects.
As the eponymous character, Jared Leto is compelling enough to convince you he is the conflicted hero. His role here doesn't require the method acting he is famous for but he still delivers in his performance as the fanged doctor.
Matt Smith is simply deliciously devilish as the antagonist; he is the opposite of Morbius and at some point, he almost outshines the lead star.
Apart from Adria Arjona who plays Morbuis' love interest, the supporting characters are rather insignificant and seem to be just there for little or no reason.
The musical score matches the film perfectly and the I can't remember a dull moment.
Perhaps the most noticeable downside of this film is the fact that (spoiler alert!!) there was only a scene or two where blood is shown.
This is a vampire movie for Godssake! Why would you make it PG-13? I assume it's to make it appealing to a wider audience but in so doing, the director robs it of one of its most fundamental aspects.
Other than the above and the totally predictable plot, occasioned by some subpar acting by a few characters, Morbius is well worth the watch.
Adam Reed, a time-traveling pilot, accidentally crash-lands in 2022 and teams up with his 12-year-old self to save the future.
Those who know Ryan Reynolds should know what to expect from any movie he appears in. Here, he continues his tradition of playing basically the same character with snide remarks, unending jokes, and sarcastic quips. But that doesn't stop The Adam Project from being a totally enjoyable film.
Reynolds plays Adam Reed who meets his younger self while on a mission to find a loved one and alter the future. While bonding, the two learn the importance of cherishing every second spent with family members.
The lead star does what he does best; crack jokes while bringing his charm and charisma to bear as the protagonist whose connections to those he loves make him a loveable character.
Unlike some other films where those jokes are mostly not needed, the actor's humourous lines here are essential to the establishment of his character as someone who hides his pain under those jokes.
While Reynolds is compelling as the lead, the young actor who plays his 12-year-old self, Alex Mallari Jr., is equally amazing. He definitely measures up to the older actor, dishing out his endless verbal comments and almost outshining his older self in the process.
Zoe Saldana appears for a shorter time than I expected but the impression her character makes is one that reverberates for the entirety of the film. She is a great actress and I loved seeing her kick some ass.
Mark Ruffalo plays Louis Reed, the hero's father in a part that very much reminded me of his role as Bruce Banner in the MCU. While he doesn't really do anything outstanding, the short time he shows vulnerability towards the end is a testament to his dexterity as a thespian.
I won't leave out the lovable Jennifer Garner whose performance as Adam's mother is convincing and impressive. Her part, though small, also adds to the plot development and character arc of the hero.
The action is good for the most part (a few sequences were subpar), the special effects are not bad, and the humour is not out of place.
The Adam Project has its flaws but that is okay because it does everything an action comedy film sets out to do; entertain outrageously.