Technically, the film excels in its simplicity. The sound design is clean and immersive, especially during radio scenes, which are used effectively to externalize Uche’s inner thoughts. The editing is tight, avoiding unnecessary melodrama while still preserving dramatic tension. The film’s score is understated but emotional, punctuating key scenes without overpowering them.
Movie Review
However, if I turn a blind eye to these inconsistencies, I would place Baby Farm as one of the most thrilling offerings from the Nigerian film industry. There is a seamlessness to the production that doesn’t feel forced. Characters, through the actors, come to life in this
Chioma and Obiora are instantly enamoured of each but after a few dates, her feelings for him start to thaw — not because she’s still in love with her ex-boyfriend, Chris, or because she discovers something distasteful about Obiora’s past, but for a very silly and flimsy reason: Obiora’s Igbo accent.
Two exceptions stand out: Olarotimi Fakunle as the prison warden, Marshal, and Itele D Icon as Suky’s mentor, Ijaya. Fakunle delivers a commanding performance, infusing Marshal with a chilling blend of authority, humour, and menace. His presence looms over Aja Prison, making it clear why lawlessness thrives under his watch.
Though the film’s narrative is engaging, the performances are a mixed bag. Timini’s Tomiwa delivers a decent performance, convincingly portraying a man torn between image and authenticity. The girlfriend Imani, though not the focus of the plot, lacks depth and is reduced to a stereotypical role — the ambitious partner who prioritizes success over emotions. The standout, however, is the family-oriented Rachel. Omosuku brings warmth, humour, and raw emotion to her role
By personifying the artefacts and giving them “voice”, Diop creates a profound and empathetic connection between the viewer and the artefacts, elevating their status beyond being seen as mere relics. This bold narrative choice elevates the documentary to a more intimate and retrospective level, inviting viewers to ponder the artefacts’ storied past, and their cultural significance.
The performances range from captivating to theatrical. Femi Adebayo delivers a decent performance as the troubled King Adedunjoye. He captures the essence of a king who is both regal, relatable, and vulnerable, torn between his duties and his heart. Chioma Akpotha, as Queen Amaka, brings a serene strength to the chaos in her household.
Fight scenes are never easy to film and Nollywood films have been criticised for opting for karate style fight unlike the Nigerian equivalent which involves a lot of grabbing and throwing, which is why it’s called “gidigbo” (Yoruba traditional wrestling). Suspicion also toes this path, but it executes these scenes well as the fight sequences are well choreographed — just what you’d expect from an action film
The haphazard storytelling further limits the acting performances as the actors have little to work with. While the cast make an earnest attempt to bring depth to their roles, the character development feels shallow with characters’ motivations and backstories barely scratched.
Tòkunbò is written as a thriller and action movie. Ramsey Nouah’s ambitions as director are not very grand. It is a trite storyline of the regular Omo Eko, whose creed is to simply make it to see another day, but then struck by misfortune, in Tòkunbò’s case, his son’s heart disease, as he faces a dilemma from which finding a way out becomes a double-edged sword that leads to crime.
House of Ga’a is a massively successful project, entering Netflix’s top 10 in multiple countries upon its release. From the setting to the storyline to the star-studded cast, it’s little wonder why.
The Man Died is important as a historical testament of a nation told from the point of view of a writer, activist and politically engaged intellectual who has interrogated the failings of the Nigerian state for over a half century.