Film and TV

The “Set Up 2” Review: Chinaza Onuzo’s Latest Release Focuses on Aesthetics and Lacks Depth and Clarity

Set Up 2 is plagued by disjointed scripting. This is now a recurring flaw, visible…

“Collision Course” Review: Bolanle Austen-Peters Makes a Social Commentary on Police Brutality. But to What End?

With Collision Course, Austen-Peters allowed something very similar to the very distasteful way violence was handled…

“The Milkmaid” Review: Desmond Ovbiagele’s Femicentric Terrorism-Themed Feature Is a Nollywood Revelation

Daring, ambitious, visually stunning and appropriately heart-wrenching, The Milkmaid is a cautious exposé on the…

Kayode Kasum’s “Dwindle” Feels Like Recycled Ideas, Yet Entertaining to Watch

In the category of crime comedies, Dwindle is neither the best nor the worst you…

“The Throne” Review: A Banal Tale about the Hunger for Power

The problem with The Throne is that it doesn’t have much of an entertainment value.…

“Office Invasion” Review: Three Office Friends Battle Aliens in a Slow but Charming South African Sci-Fi Comedy

From its opening sequence, Office Invasion opts for the most bizarre choices, moving from ridiculous…

“Nairobby” Review: Greed and Division Rule in Jennifer Gatero’s Tense but Monotonous Post-Heist Thriller

Gatero weaves a tale of lies and deceit within a tale of crime and romance,…

“Hey You!” Review: Uyoyou Adia’s 18+ RomCom Almost Ruined by Unresolved Subplots

Without lingering, the writer dives right into juicy details that engage the audience, therefore delivering…

“Lockdown” Review: Moses Inwang’s Pandemic Movie Feels Like a “93 Days” Wannabe

Lockdown keeps a bunch of people, many of whom are strangers, literally locked down in…

“Money Miss Road” Review: Swanky JKA and Josh2funny Bring the Comedy in Obi Emelonye’s Action Comedy

Where Emelonye’s story stands out is in the sheer familiarity, especially in the second act…