Strangers Review: Lateef Adedimeji isn’t the Star of Strangers, It’s Daniel Bogumbe
When I last watched Lateef Adedimeji(The Griot), he was playing the role…
Dark October Review: Linda Ikeji’s Filmmaking Debut Revisit the Site of a National Tragedy
Art in all its various forms could become a portal for revisiting…
Shanty Town Review: Netflix’s Depiction of Lagos’ Underbelly is Bland, Shoddy and Soulless
But for its rich use of an eclectic mix of languages, its…
The Wait Review: This Film Offers Hope for Faith Movies in Nigeria
In recent times, faith has not been a popular theme explored in…
Disconnect: The Wedding Planner Review : An Ambitious But Dented Pan– African Partnership
Netflix provides an interesting synopsis. It's a “feel–good rom-com. A man struggles…
Far From Home Review: Netflix and Nollywood’s Coming of Age Film is Really Far from Home
Ajegunle, where I stay, and Isale Eko, where Ishaya, the lead of…
U-Turn Review: A Workable Journey Hampered By Chronic Detours
For the years I have had the prime consciousness of understanding the…
StandUp Review: Crass acting and stauntered humour restrains a necessary treatise into Nigeria’s comic industry
Comedy has always been an integral part of filmmaking in Nigeria, especially…
Elesin Oba: The King’s Horseman Review: Biyi Bandele’s Last Testament Shines, Amidst Its Crux of Traditions and Colonialism
Eleshin Oba: The King's Horseman is an apt examination on the dynamics…
37 To Go Review: Don’t Miss Lota Chukwu and Daniel Effiong’s Navigation of a Pandemic-Induced Flailing Marriage
This couple who has promised to spend 40 years together finds the…