Shola Sobowale has a way of helping you feel what is meant to be felt, even if the story itself lacks the same intensity. One would have finished sobbing with her before realizing that you normally wouldn’t bother – when the unfortunate happens to Kemi (Adesua Etomi-Wellington), it is not so grueling until Eniola (Shola Sobowale) starts to MOURN. Then there is this facial make-up that gives her this dejected look that reads a great deal of pain, coupled with the sudden darkness of her skin; very commendable make-up, I must say, though, one would wonder what sort of juvenile charred look Inspector Shehu (Sani Mu’Azu) and Eniola have after escaping the fire in the end.
Unfortunately, a viewer will have to wait 1 out of 3 hours to get to the good parts with this movie, this is majorly because there are too many characters in the movie that should not even be in the first place. So many “important” people at Eniola’s 60th party don’t even make an appearance again afterwards. They do not even drive the story: not the governor, senators, M.C, or anybody else for that matter. Too many potential people to follow for story, and who have none to give.
It is established though, at the party, that Eniola knows many big shots, and is also a gangster, the man she axes to death has nothing to do with the story in front.
Kemi is not Eniola’s real daughter. What is the essence of the story being this way, when there is no indication that she would have turned out different otherwise?
Kitan’s (Ademola Adedoyin) uselessness is of great magnitude. His oblivious alliance with the lawyer girl from the counterpart seems not weighty enough to be the reason for their downfall, and fails to give the story the ‘aha’ feel when it needed it most. He is lame in character and in act. His death seems inconsequential. Everything about him fails to hit. Heck, he even misses where to flick his cigar butt in the ashtray!
Good scenes are not just meant to be catchy for the moment, they should be a piece of the whole puzzle. This story is not tightly knitted like it should be, and it only gets better after 1 hour into the movie.
All the raids are particularly interesting, though are disguised as a real piece of work. A higher level of gore and gross would have lifted these scenes to a grand new level for better appreciation.
The NCCC detective, Inspector Shehu alongside other characters are introduced casually, like minors. One might get ready to forget about him quickly before realizing that he is actually a very important piece of the puzzle, and might miss out on his early beats if any.
The film tries too hard to be badass. Real badasses don’t say much. Too many times, the audience finds themselves waiting too long for doom to be established, and the wait is not even entertained by suspense of any sort. It happens every time a group is discussing a deal, and is the reason this movie is unnecessarily 3 hours long! Only one time does the movie really get it right, in the end: “see you in hell”.
Some of the flashback scenes don’t really appear as flashbacks, to be honest, and jumbles the story as well, before it is clear that they are actual flashbacks; Mr. Salami’s stooge of the olden days looks like one of Makanaki’s (Remilekun Reminisce Safaru) present-day boys!
It is clear that this movie’s script was not properly reviewed before jumping into production, as there is a great deal of potential for a neat story which was recklessly ignored.
Eniola’s biggest mistake is allowing emotions take the better part of her livelihood in a game of politics, and the movie cleverly makes use of this as an excuse for everything to go downhill. Had she paid attention to Makanaki’s new deal; new horizons would not have been explored.
The “board room” the miscreants make use of is very realistic, even if some viewers might think not. Lagos touts most times bask in illusions of grandeur; one way to be sure is how over-the-top bus and keke drivers pimp their vehicles. The throne at the head of the table in this movie is a pretty grand representation of what touts at the top can do.
Money and power intoxicate, and this is seen in the character of everyone that has it, striving for sustenance and for more. Makanaki reigns as king for a short while, but the throne turns out to be meant for only born rulers.
Isedehi Aigbogun, also known as ISD, is a staunch academic, holding a B.A., M.A., and PhD (in view) in English Language.
She’s a Screenwriter, Screenplay Analyst, Consultant, and Film Scriptic.