Victory Hayzard Solum

With vapid sex scenes and generic power plays, Akay Mason’s Red Circle proves more underwhelming than groundbreaking.

Taiwo Egunjobi’s The Fire and the Moth shows that a unique vision in Nollywood isn’t a death sentence.

Yemi “Filmboy” Morafa’s anticipated thriller scores high in many departments but falls short in the central one.

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.