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The Odyssey Is Just Another Reason for Despair
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My review of My Father’s Shadow (A long read)
Firstly, the production design, sound design, cinematography, and overall recreation of 1990s Lagos were impressive. The atmosphere felt authentic, and the performances, especially from the two boys and the actor who played the father were strong. However, as a viewer, the film didn’t fully connect with me in the way I expected it to. One of my biggest challenges with the film was its heavy reliance on symbolism and subtext. While I appreciate films that trust their audience, My Father’s Shadow often felt like it was asking viewers to do too much of the thinking and emotional work themselves. Rather than deepening the story, some of the symbolism felt excessive, making the narrative less engaging than it could have been. I also found the dialogue underwhelming. For a film set against such a significant period in Nigerian history, I expected conversations that carried more weight, depth, and insight. The political commentary was another area where the film fell short for me. The backdrop of Nigeria’s political climate is clearly present, but it never felt fully integrated into the story. The film gestures towards the whole MKO and military era but it wasn’t developed enough to create a meaningful impact. As a result, the commentary felt disconnected rather than essential to the narrative. I understand that the film was ultimately about a father and his sons, but given the historical context it was operating within, I wanted more. The pacing was another challenge. The slow pace often made the film feel stagnant, and I found myself waiting for certain narrative to come together in a more satisfying way. Another aspect that didn’t quite work for me was the father’s Yoruba. For a character meant to embody a Yoruba father in 1990s Lagos, the language delivery was off Ultimately, I think My Father’s Shadow succeeds far more as a technical and artistic achievement than as a piece of storytelling. It is visually beautiful, well-acted, and atmospherically rich, but I found the writing, political commentary, and emotional payoff less compelling than I had hoped. But i appreciate the Craftsmanship, it gave us something fresh.
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“Michael” Review: Biopic on King of Pop Overlooks Man in the Mirror
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“Michael” Review: Biopic on King of Pop Overlooks Man in the Mirror
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Reading “Awo: The Autobiography”
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J.P. Clark: A Poet And His Phases
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The Devil Wears Prada 2 Reveals the True Cost of Landing Your Dream Job
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Emily Blunt unpacks ‘very sweet’ final scene of ‘Devil Wears Prada 2’
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This Will Change the Way You See Nate From ‘The Devil Wears Prada’
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The Devil Wears Prada 2? Groundbreaking. What The Sequel Got Right
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‘Michael’ is a troublingly untroubled biopic of the late King of Pop
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Behind the Candelabra – the Liberace biopic as sordid as its subject
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‘Would you like me to cry now?’: Louis Theroux on the manosphere, marriage and misunderstandings
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The Manosphere Is Too Online for Louis Theroux
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Months later, I finally watched the viral Netflix series “To Kill a Monkey,” and here’s what I think
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Forking paths in successful lives
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Dave Chappelle’s new Netflix special, The Unstoppable, is an extraordinary work of genius. The genius is in its capacity to stir simultaneous reflection. You go in for the laughs, but soon feel your mind being loaded with a thousand parallel thoughts, each demanding careful attention. It is comedy that insists on contemplation, nudging you to look beyond the surface, beyond the headline. You are made to feel the hypocrisy of the world we inhabit and the contradictions of its moral gatekeepers, rendered not in flat commentary but in full, unsettling 3D.
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The System Has Failed Clint Eastwood
Juror No. 2 suggests there is still purpose in institutions, but in some ways it’s the most damning of legal thrillers — one that suggests miscarriages of justice happen not from evil figures pulling strings behind the scenes, but from ordinary people making ordinary mistakes because life gets in the way.
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An Honest Review on Netflix Film: The Herd
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The Herd Movie Review: Daniel Etim Effiong And Netflix Speak Nigeria’s Unspoken Truth
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Graydon Carter’s Memoir Evokes the Golden Age of New York City Media
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In ‘Siege: Trump Under Fire,’ Michael Wolff Chats With Steve Bannon While the Establishment Burns
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Chimamanda’s male characters: A parade of villains and “thieves of time” – Chinonso Nzeakor
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Kamala Harris’s election memoir shows just how deluded the Democrats still are Nesrine Malik
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I’ve now read all three of Harris’s books — “Smart on Crime” was published in 2009 and “The Truths We Hold” in 2019 — and the sense they give collectively is that of a prosecutor, a senator and a presidential candidate genuinely wanting to do good, but letting that good be defined by the party orthodoxies of the moment.
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Charlie Sheen Is Ready to Tell You Everything
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Charlie Sheen’s new book reconstructs his meltdown era
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Charlie Sheen’s new book reconstructs his meltdown era
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Ellen’s new Netflix special is a disjointed, confusing work of meta-art
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The Billionaire’s Contradiction
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Spare by Prince Harry review – dry your eyes, mate
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To Kill A Monkey Review: One Broke Man, One Fraud Empire, One Deadly Mistake
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“The Party” Review: Nollywood Whodunit Gets Everything But The Mystery Right
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Living a life sentence to the fullest
It is good to attend to important cinema like Syrianaand Munich, but on occasion we must be open to movies that have more modest ambitions: They only want to amuse us, warm us, and make us feel good. Last Holiday plays like a hug.”
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Tyler Perry’s ‘Straw’ stands with stressed-out single mothers everywhere
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Evaluating The Wit and Wisdom of H.L. Mencken
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We Who Wrestle With God by Jordan Peterson review – a culture warrior out of his depth
There is the social pressure to adjust, not to reality itself, but to fashionable orthodoxies – particularly around gender fluidity, racial sensitivities, the reluctance to call people to responsibility for their actions. And there is the internal pressure of a self-serving, sentimental quest for low-cost answers to challenges of moral significance – false compassion, over-identification with the supposedly vulnerable, cheap indulgence of the surface wants of self and others.
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Joe Biden’s Final Days: Did Aides Cover Up His Mental State—or Was It Group Delusion?
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‘Fight’ recounts the 2024 election but misses its stakes
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Julian Barnes: I was wrong about EM Forster
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In Her Last Stand-Up Special, Ellen DeGeneres Does Not Apologize
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Skewering Leftist Excess With Mockery and Sneers
But the book’s central fallacy is that idiocy on the left requires moving to the right. It doesn’t. It’s eminently possible for people with brains to make distinctions and stick to their principles, if they have any. And, by the way, you’re not going to find any fewer authoritarians and idiots by switching sides.
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How Nancy Pelosi Really Wields Power Among the Democrats
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‘House of Ga’a’ Review: All’s Fair to Middling in Love, War, Treachery and Misses
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A REVIEW OF THE DIARY OF A CEO LIVE WITH STEVEN BARTLETT
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‘Law & Order’ Probably Doesn’t Like You
The only way to be O.K. in Dick Wolf’s world is to have a job that is steady but doesn’t pay very much, to drive a five year old car you’re still paying off, to live in a small house with a large mortgage, to have an education that helps you get by but doesn’t give you any fancy ideas, to attend a house of worship that is the center of your social life, and to have almost no leisure time. Unless you fit that profile, “Law & Order” probably doesn’t like you.
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Funke Akindele: Inside ‘A Tribe Called Judah’s’ N1 Billion+ Climb
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When Oriahi was attached to “The Weekend,” after a previous director pulled out, he had less than a month of prep time until the cameras rolled. The film was shot in under three weeks.
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Raised by Oprah: 25 Things I Learned Over the Past 25 Years
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The Covenant of Water by Abraham Verghese review – a curse in Kerala
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‘What is a Woman?’ documentary review: Matt Walsh’s twisted exercise in narcissism
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Emma Thompson’s Nude Scene in ‘Good Luck to You, Leo Grande’ Is A Revelation of Self-Love.
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‘You People’ Furthers ‘Black-ish’ Creator’s Obnoxious Racial Agenda.
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In defense of You People, the hit Netflix movie you hated.
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Spare by Prince Harry review – a flawed attempt to reclaim the narrative.
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Movie Review: Netflix’s ‘King of Boys’
This is a film that knows its stake. And this is a film made first of all for Nigerians, as it does a fine job of lifting out some art from real life. This is where Kemi Adetiba shines best as a filmmaker.
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“BATTLE ON BUKA STREET” REVIEW: NOLLYWOOD RETURNS HOME IN FUNKE AKINDELE’S POLYGAMY COMEDY
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NIGERIAN PRINCE: A Somewhat Standard Thriller Lifted By Its Novel Setting
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