We are not the same, some are monsters.
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  • The chasm is wide enough to house the nation’s manifold problems. And on either side are critics and filmmakers, taut slings at the ready, eyes on the ball, as individual missions must be accomplished.
  • We are not the same, some are monsters. This will make sense when you are done reading.
  • A clash on Twitter. Yes, it was between a critic and a filmmaker. An articulate engagement, tethering on a delicate edge, promising to spill into a name-calling bloodbath, but quickly curtailed by the maturity (and suave social media posturing) of both parties. Across the border, another filmmaker chooses to froth in threads rather than join in the highbrow sparring. He’s a friend, whether he likes it or not.
  • Criticism should come from a place of love- Chris Ihidero.
  • My banker friend, Yanju, thinks authoritative signatures like, “…a profoundly useless movie, an empty box, literally, a puke machine, ten thousand steps backwards even for Yoruba Nollywood….” are what great reviews are made of. He believes reviewers should attach images of slumbering viewers in cinemas to emphasize how boring the movies are. Going the extra mile, he says
  • Merry Men 2 got reviewed by Guardian (UK, not Nigeria). The last paragraph is deserving of a lawsuit. Phil Hoad, the writer, has made new enemies.
  • Sugar Rush and Juju-fi. Ifa Therapy and Trado-fiction. A new decade is upon us. Pull yourself by your bootstraps. We have said this many times. Oh Lord, no more false dawns, please.
  • A furious Rat: Review after review, the handlers of Cinemapointer continue to descend into mindless butchering of films while retaining dubious support for some other films. While it is difficult to place their motivations beyond providing quick audience reviews, which is admirable, their critical approach is bedeviled by a juvenile obsession with controversy. With their so called reviews showing great ignorance about plots, structure and character; or even more seriously, their acerbic reception to non-mainstream films, their attempts to inform, point or guide the audience unfortunately transmute into poorly crafted advertising copy or bland social media shades.
  • Wilfried Okiche claims Your Excellency makes Chief Daddy an Oscar deserving movie. Ouch!
  • Sage Africa Ukoh reveals an obsession with the exploration of the minutiae of the average Nigerian life in drama. He goes on to suggest that a consequence of our character writing in dramatic storytelling being archetypal is that tons of characters and mini-Nigerians outside the archetypes have remained unexplored.
  • The saviours of Nigerian Cinema are resident in the North- Professor Hyginus Ekwuazi.
  • Furious Rat continues: The problem with cinema pointer reviewership is actually serious, as it is in a way becoming a part of our young cinema culture, with their popularity and access. One wonders when they will spawn a generation of equally acerbic copycats, all pointlessly existing as film reviewers, and by extension nurture a generation of new artists raised on their error. For an increasingly less literate audience of an industry struggling to make room for critics, these projections are, at best, modest.
  • Our banker friend, Yanju, has finally given up on Nollywood.
  • The Critics, a group of talented young filmmakers schooling the internet, paid an impressive homage to Star Wars. Let us all cover our faces in shame for we have hugged excuses for too long.
  • We are not the same, some are monsters.
  • We love Nollywood.
  • Merry Christmas.
  • Pray for Nollywood

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