Brotherhood Review: There is No Pretense in Jade Osiberu’s Film
I grew up in a community where scars are the trademark for…
Collision Course Review: Bolanle Austen-Peters’ Dithering Docudrama on the EndSARS Protest
The establishing shot of Collision Course is a synopsis of the infamy…
Obara’M Review: Kayode Kasum, Dare Olaitan, and Nancy Ismie Relapse into Old Habit
Rarely does a critic write about the drudgery of being stuck in…
The Razz Guy Review: This Film Yearns to Say Something Important But Lacks the Eloquence
Several minutes into The Razz Guy and few of my expectations were…
Biyi Bandele; A Creative Enigma in Life, An Artsy Legend in Death [TFC Tribute]
Let me begin with a list of clichés. Biyi Bandele, born on…
Lockdown Review: Moses Inwang’s Film is a Subtle Docudrama that Neither Documents Nor Dramatizes Enough
As I was watching Lockdown, it dawned on me that when fiction…
Documentary Defies Amnesia in Ayo Shonaiya’s Afrobeats: The Backstory
I had, circa 2019 when I started reading E. B. White's and…
Yahoo+ Review: Ebuka Njoku’s Film Subtly Demystifies Ritual Killing
Chinua Achebe is responsible for the glossary of Igbo words I recognize.…
Movie Review: Ile Owo (House of Money) is Dare Olaitan’s Retread of a Suppressed Passion
Here's a social perception. It says economists are prudent humans. In colloquial…
Movie Review: Blood Sister is an Exciting Hybrid of Themes; Family Drama, Romance, Politics even Patriotism
A noteworthy feature runs through the first few scenes of Blood Sisters.…
