PROPHE+ESS REVIEW: A Misguided Adventure

There is nothing strikingly fresh that we haven’t experienced or heard about in Niyi Akinmolayan’s 2021 outing ‘Prophetess’. We are well acquainted with Nollywood’s stereotypical representation of white garment prophets as either pretentious or outright comical. Even if most viewers…

Ilé Owó (2022): The Definition of Style over Substance

First, a brief story from when I went to see Ilé Owó. There was some difference between the time on the website and the actual time it was showing. Fortunately, even with the change, I got there early. When I…

Crushed Roses (2022): The Highs and Lows of Young Love.

While watching Crushed Roses, I was reminded of Goodbye First Love (2011), the third feature film from French director, Mia Hansen-Love, about the highs and lows of young love. In his review of the film, the late great Roger Ebert…

Glamour Girls: A Painful Two-hour Odyssey

Popular Nollywood studios have taken to heart the challenge to make reimagined sequels to classics, with releases like Nneka the Pretty Serpent, Living in Bondage, Rattlesnake: The Ahanna Chronicles, Blood Sisters, and the latest in the league, Glamour Girls as…

Yahoo+ (2021): The Beauty and Power of Mis-en-scene.

At different points in time throughout cinema’s history, producers, critics and enthusiasts have disagreed over a number of film theories and practices. The film vs. digital debate quickly comes to mind. Each side claims the superiority of one form over…