Everything was going well with ‘Sugar Rush’ until it got to its third act. It either completely switched genres or increased the tempo of its pre-existing ones; it’s been three (3) days since I first saw the movie on Netflix, but I still haven’t been able to figure out which one it is.
What I do know is that, its third act is one-kind. 😩
Acting was decent across the board. Special shout-out to Bimbo Ademoye as Bola Sugar and Tobi Bakre as Andy; there wasn’t a dull moment watching both of them do their thing on screen. And also to Lateef Adedimeji, but solely for the Yoruba-Igbo hybrid accent thingy.
Other things about the movie I found to be one-kind? Dem boku! But I’ll mention a few:
How the Sugar mother (played by Iya Rainbow) leisurely followed her kidnappers out of the house without batting an eyelid at her daughter Susie (interestingly played by Adesua Etomi) crying and rolling on the floor.
How Madam EFCC (underwhelmingly portrayed by Omoni Oboli) appeared out of thin air for the final showdown. Very convenient.
Every scene with Mawuli ‘summer body’ Gavor
Everything about Banky W’s Anikulapo, except his make-up. I liked that one. 😄
Compound V: I almost thought I was watching a sequel of TheBoys. 😄
I don talk my own finish. Oya, talk your own. Sugar Rush, yay or nay?
When news of ‘Living in Bondage: Breaking Free’ first broke out, I had doubts about it. Naturally, there was going to be very high expectations for it to deliver in ways yet unimaginable. I was apprehensive thinking about what would become if that didn’t happen; if it couldn’t live up to the memory of its original, the revered classic. But as we’re constantly reminded by certain events in life; you either go hard, or you go home. And ‘Living in Bondage: Breaking Free’ brought a gun to a knife fight.
Watching it for the first time, it’s obvious Executive Producer Charles Okpaleke (aka Charles of Play), Producer Steve Gukas, and Director Ramsey ‘no longer a loverboy’ Nouah did their homework. They invested time, energy, and money into this project; and the result is a flashy movie, which is great as a standalone watch, yet creatively ties into its source material and pays homage in ingenious ways.
The last time I experienced something similar to ‘Breaking Free’ was in 2016 with the smash hit, ‘The Wedding Party’. And even that feeling was of a different breed, because it stemmed mostly out of it being able to make me laugh effortlessly. So, with ‘Breaking Free,’ I needed to be certain it wasn’t just the giddy 15-year-old in me that was excited at seeing fast cars ride through the streets of Lagos, or the fairytale zing that was Kelly and Nnamdi’s first meeting. It’s hard to deny the attraction to affluence and wealth as lavishly displayed in this movie, but ‘Breaking Free’ does a good job balancing them out almost as soon as the story starts to draw you in.
All the talks about story balancing wouldn’t have been possible without a strong cast to bring what was on paper to life, and Jideofor Kenechukwu Achufusi, better known by his stage name Swanky JKA does a good job carrying this movie. It may not have been perfect (who is anyways?) but it’s clear he’s got a fire burning in him, something the industry needs to fan more often. It’s in him to be great and I hope the odds works in his favour.
As the director and main-villain of this movie, Ramsey puts his nearly two decades of experience on display; he does a great job helping relatively unknown newbies like Swanky JKA, Munachi Abii and Shawn Faqua (whose character Toby is my favourite) shine. After watching this, I know I want to see more movies with him at the helm of affairs.
If there’s one thing I really loved about this movie, it’s how it was able to pick up the thread of the original LIB movie, after 27 years, without making the sequel feel enslaved to it. Bob Manuel Udokwu, Kanayo O. Kanayo, Kenneth Okonkwo, and some of the other creatives who featured in the original, returned for this sequel and not once did their characters make this film suffer because of their unresolved issue, which I liked. Save for Andy, who was important to the story being told, the others were nothing more than glorified extras.
It’s not all roses and diamonds for ‘Breaking Free’, though. It does suffer from a few malignancies, like the stretching of certain scenes till they lose taste; Nnamdi and Kelly’s first meeting is a notable example of this. Add that to some characters making questionable choices just to further the plot, and you’ll notice a frown starting to carve on your face.
This is a good movie, easy rewatchable, and I’m sure I’ll be doing that frequently for a while.
Kudos to: – The brotherly bond between Toby and Nnamdi. It was beautiful to watch
– The sex scene. Colour me dark, but tasteful; that’s how I’d described it.
– The Man in Black (from Lost) visual reference; that puff of black smoke. Remember it?
It’s as though a teenager out a chance to express their horniness in writing, on Wattpad, and accidentally got the chance to meet with a randy amateur, who, somehow, thought this was a great idea to bring to live on Netflix.
In a time like this, more than ever, the world doesn’t need a poorly scripted movie that glorifies sexual assault and then repackages it as a love story. A direct-to-Netflix porn movie telling this Timbuktu Christian Grey’s story would’ve appealed better to me.
Starring: Jemima Osunde, Jamal Ibrahim, Charles Etubiebi Oke, Kehinde Fasuyi, et al.
Release Date: May 24, 2019
I learnt from Jemima Osunde (who played Nkem) that ‘The Delivery Boy’ was first meant to be a short film, but ended as an unusual 66 minutes movie. As at the time of writing my first draft of this review, I didn’t yet know how much this piece of info would influence your feelings about this movie, but I thought to leave it in anyways.
If you’ve seen ‘The Delivery Boy’ and you call it a masterpiece, you won’t be entirely wrong. Here’s why. In an age where the average filmmaker would rather tell stories of parties, blings and merriment, Director Adekunle ‘Nodash’ Adejuyigbe joins a small, but growing list of creative daredevils willing to defy the odds and birth something different. Something better. And while this is very commendable, I also believe that pointing out where obvious errs in the course of actualizing this ambition will help him, and the others, improve faster.
What happens when fate brings together a prostitute and a killer? It gets them to fulfill destiny. How do you fulfil destiny? You may ask. Truth is, there’s no straight road to her in real life; but in fiction, there’s only so much you can do to stretch the common sense of a person’s ability to believe in characters they just met under 90 minutes. With its final act, ‘The Delivery Boy’ really stretches that fact. But that doesn’t make this a bad film. Neither does it erase the good work it’s trying to do by shedding light on controversial, prevalent societal topics most filmmakers would shy away from.
Nodash, in his own way, and through the meticulous use of a particular local language many might argue propagates a long running stereotype, tries to tell a story that is dear to him and feels has to be told, because that’s one of the things art is supposed to be able to do – shine strong light on societal ills to expose them. So, even though, Nodash’s third act goes about this weirdly, I don’t think he should be crucified for that. Try to ignore the few inconsistencies with the acting and sometimes crappy editing, okay?
So, I’ll paraphrase a point I made earlier: ‘The Delivery Boy’ tells a story that is smart, compelling, intriguing and full of suspense.
With an awesome story, a decent screenplay, and addictive characters, portrayed tastefully and leave you asking for more, why can’t we have a sequel? Is it because of that debatable climax, or because the movie was never meant to last long in the first place?
The premise of ‘Da 5 Bloods’ is pretry simple; 4 war vets return to the site of the Vietnam war under the guise of recovering the corpse of their late platoon leader, but are also there to secretly retrieve the large chunk of gold bars they buried years ago.
“Gold does strange things to people, even old friends,” Tien, a minor character, says as she hands a disguised gun to Otis, one of the titular Bloods; this was just before he and the rest of his squad depart for the Vietnamese jungle. That singular action was more of a warning for we the viewers to brace for impact than it was for Otis to lookout for potential betrayal on the field. The gold did lead to explosive revelations for all of them, just not in ways I was expecting. I thought that was good.
This Spike Lee Joint delivers one of the best movies this troubled year has seen. It’s calm yet smartly stirs trouble as its peng story unveils itself, illuminating, explosive, well-directed, graciously scored, and radically timely in the face of the BLM movement going on around the world now. It gives me hope for 2020; we’ve got 6 movie months to go. There’s still hope, guys.
Heads up! Expect gory, real-life shots popping up throughout this movie. It can feel like a distraction, if you’re not so immersed in the movie, but I enjoyed them. I found myself looking forward to the next one.
Delroy Lindo and Jonathan Majors as father and son are the heart of this film; in a way, they’re also its chief muscles too, aesthetically speaking. Delroy, in particular, portrays PTSD at its rawest and how carrying around unresolved baggage can wear one out. Even though we don’t see much of him in it, Chadwick Boseman’s Stormin’ Norman is its heart, ably supported by Clarke Peters’ Otis.
I can’t be the only one who thinks Clarke Peters looks like Morgan Freeman, right?
Starring: Issa Rae, Kumail Nanjiani, Anna Camp, etc.
Love isn’t always rosy; it’s a journey and can be made or marred by the unlikeliest of circumstances. For Jibran and Leilani, witnessing a murder turns out to be what ignites a new spark of passion they weren’t sure they still had in them, and, as it turns out, happens to be what sustains their relationship.
Kumail Ninjiani and Issa Rae, who are arguably two of the funniest people in present day Hollywood, breathe life into this clumsy, comic couple. And I thought they were fun to watch. Chemistry was average. I wasn’t really sold on the depth of their love or not-hate relationship, but it was enough to sustain the movie based on a very shaky, cliche plot.
It’s not perfect (which movie is anyway?) but you’re sure to have a good time if you watch it.
Starring: Terrence Little Gardenhigh, Taraji P. Henson, Ed Helms, et al.
‘Coffee & Kareem’ is a Netflix original film about a 12-year-old boy (Kareem) who decides to put an end to his mother dating a white police officer (Coffee).
As an R-rated comedy film, ‘Coffee & Kareem’ doesn’t fare badly. Watching it does invoke genuine laughter in certain scenes, mostly thanks to the charismatic performance of Terrence Little Gardenhigh (Kareem) a real life 13-year-old and his mostly talented supporting cast, Ed Helms and Taraji P. Henson. Terrence’s Kareem character is really foul- mouthed; it’s mostly fun, but sometimes it’s also too much to watch without cringing.
One of my favorite scenes in this movie is from my fav, Taraji, who plays Kareem’s mother. She goes on a whooping streak and hands two low -life thugs their assess when they come for her. Epic Taraji!
There’s nothing extraordinary about ‘Coffee & Kareem’, maybe aside its pun-styled title. The story is cliche and calling its execution sloppy is putting it mildly. But if you want to have a good time watching something with low stakes and that’ll require very little brain functions, this is a good choice.
“No matter how badass you think you are, there is always a badass bigger than you.” Amir, the main antagonist of this Netflix rescue thriller, says to one of his numerous henchmen during an early scene. It’s almost as if he knew I’d be comparing this movie to the likes of John Wick, Jason Bourne and all the other memorable characters with terrific stunt work before he made that statement.
In case the thought crossed your mind, no, this isn’t me hinting at ‘Extraction’ being a masterpiece or having a protagonist whose name would go on to strike fear whenever called upon, that’s not it at all. My praises, however, are unreserved for it having one of the most impressive choreography, camera work shot angles, and stunt work I’ve seen in a while.
Oh my! What’s not to love about Chris Hemsworth punching and killing people?
Everything the movie’s cliche rescue storyline lacks in originality, its impressive action sequences make up for it. And I think for this movie, that’s enough to love it.
Netflix leaves the ending ambiguous, probably to test the waters, see how viewers react and decide if a sequel should happen sometime in the future.
I fondly remember the Mortal kombat movies from the ’90s, the animated series and games on consoles, but I never realized how much I missed this property until I saw ‘Mortal Kombat Legends: Scorpion’s Revenge’.
The story is the same one we’ve heard a thousand times now – it’s a war between Outworld and Earthrealm. The earth runs the risk of being taken over by the Outworld-ians if it loses one more Mortal Kombat tournament to make 10. It’s up to Team Raiden -Sonya Blade, Lui Kang and Johnny Cage- to ensure that never happens. The twist, this time, though, is that what I just described is the subplot of this movie.
‘Mortal Kombat Legends: Scorpion’s Revenge’, as you might’ve guess now, is actually about Scorpion, his tragic backstory, and his quest for revenge. The tournament is just a side attraction he attends to satisfy Quan Chi’s cravings, who (SPOILER alert!) was the one that a actually killed his wife and child.
I know we’ve seen this twist many times, but I thought it worked well for this one. And there’s enough gore and brutality to keep fans of the material highly entertained.
The movie is fast-paced, the run time is roughly 80 minutes and it covers a lot.
Popular characters (like Reptile and Sub-Zero) from the property’s history are killed in a jiffy. Some others (like Jax) have a new origin story woven for them. And some others (like Johnny Cage) suddenly know karate when Push comes to shove. One other thing I didn’t like was that it didn’t feature the classic Mortal Kombat tune (I feel like I’m missing something, so if you know what it is help me out here).
We get a glimpse of this movie’s self-awareness, a nod to present-day, real-life movement, when Sonya hits Johnny Cage in the nut (twice) warning him not to touch her without her permission, a mistake he doesn’t make the third time ’cause , you know, third times a chance and he could lose his balls for good.
Seen this movie? What did you think about it? Are you excited to see Shao Kahn in action, in a possible sequel?
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