Victory Hayzard Solum

Saved by its supporting characters, Maurice Muendo’s Showmax Original wobbles towards a moralising end. Efiko Score: 5.5/10

Landline, the latest time-loop tale from Nollywood, is another exercise in the tradition’s storytelling problem.

Are films characterised as Nollywood’s Yoruba epics only to be critiqued by reviewers from or intimately familiar with Yoruba culture?

Jack’enneth Opukeme and Adebayo Tijani’s Farmer’s Bride tells a familiar love story with immense verve.

Obi Emelonye’s film, Black Mail, would be an amazing ride, if it didn’t demand too much of our suspension of disbelief.

In “Lisabi: the Uprising”, Niyi Akinmolayan and Adedimeji Lateef make the same old stuff from the Yoruba Epic Movie assembly line.

The Shakedown has some really good jokes, but the Ari Kruger film never gets beyond the surface of its lead character.

This crisp action thriller, starring Gideon Okeke as Tokunbo, leaves all sense behind as it drives towards a conclusion.

Dolapo Adigun’s Criminal casts judgment on its characters from the start, marring everything that follows.

Uche Jombo’s sports drama, Onye Egwu, is a sometimes-funny project defeated by its own lack of originality.