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“Ọ̀kànjúwà” Review: Inkblot and FilmOne Throw a Mediocre Party with Elementary Moral Lessons
“Map of Her Shadow” Review: Anaïs Cardot Dazzles Softly on Sophomore EP
“Before The Morning Light” Review: Johnny Drille Expands His Prowess on New Album
Features & Essays
Is Nigerian Literature Truly Dying?
The Legend of Power Mike: What Can Truly Be Known about Nigeria’s Famous Wrestler of the 20th Century?
Could AI Music Be the New Normal?
Has the “Great Nigerian Novel” Been Written?
From Amaka Igwe to Jade Osiberu, Nollywood Female Filmmakers Are the New King of Boys
Ranking Davido’s Albums through the Course of his Career
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Film & TV
“Labake Olododo” Review: Biodun Stephen’s Yoruba Epic Is a Gender-Flipped Samson-And-Delilah Narrative Starring Iyabo Ojo
The Biggest Snubs and Surprises of the 2025 AMVCA Nominations
“Finding Me” Review: Funke Akindele’s Mistitled Dramedy Struggles With an Identity Crisis
“Suky” Review: Ola Cardoso’s Prison-Set, Revenge-Themed Sports Drama Is Tepid
Omoni Oboli and Nollywood’s Dilemma With Copyright Infringement
The Annual AMVCA’s Category Problem: Should TV Productions Be Competing with Films?
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Music
“Just When You Thought It Was Over” Review: Toye Aru and Derrick UGC Combine Magnificently on Joint Album
“Colourful Generation” Review: Bruce Melodie Proves He Is Still A Top-Notch Crooner
Afrocritik’s Editorial Spotlight for Valentine’s Day 2025
“Don’t Hold Me Back” Review: Liya’s Strength Shines in New EP
BoyPee, Hyce & Brown Joel Find Their Rhythm on “Synergy”
In Conversation: OluwaMillar Talks “Agbalagbi”, Creativity, and Breaking Barriers
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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