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Adedibu Liasu
“The Lost Days,” Review: Fails To Adequately Articulate Itself
The movie knows what it wants to say, but fails to adequately articulate itself…
“Ms. Kanyin,” Review: A Soap-operatic Horror That Failed On Multiple Fronts
"Ms Kanyin" fails to evoke any form of genuine fear. The jump scares are…
“The Party,” Review: Nothing New to the Nollywood Whodunnit Landscape
Femi Branch's performance in the role of Quadri stands out in the cast of…
“Landline,” Review: Doherty Boldly Ventures Into a Complex Territory
The distinctly minimalist approach limiting characters and locations by Dele Doherty hinders "Landline". This…
“Osoronga”, Review: Falls Into Tedious Rhythm
Nollywood has long been characterized it's demonization of traditional African beliefs and creeds. There…
“Baby Farm, ” Review: A Social Commentary And Critique of Nigeria’s Socio-economic Reality.
Directed by Walter 'Taylaur' Banger and Kayode Kasum, and written by South African columnist,…
“Suky,” Review: Cheap Thrills
Ola Cardoso, renowned for his unique and distinctive cinematographic style, delivers a visually dazzling…
“Ada Omo Daddy” Review: A Shallow-level Engagement
"Ada Omo Daddy" joins the list of Nollywood productions where the extravagant display…
“Lisabi: A Legend is Born,” Review: Is … Unnecessary
Written by Niyi Akinmolayan and Yinka Olaoye, "Lisabi: The Legend is Born," is lightly…
“Katangari Goes to Town,” Review: An Unsuspenseful Whodunit
"Katangari Goes to Town" lacks the suspense and excitement of a whodunit. There is…
Movie Review: ‘Seven Doors’ Is Blend of History, And Metaphysics
"Seven Doors" is a welcome change from the monotonous epic narratives now popular in…
MOVIE REVIEW: “Lisabi: The Uprising,” : Leaves Much To Be Desired
Adding to the film's visual appeal is Niyi Akinmolayan, a director known for his…