Showing posts with label Film. Show all posts
Showing posts with label Film. Show all posts

God Calling (2018 Movie)

Saturday, May 22, 2021

A heart-wrenching, dramatic, imaginative piece. 


The Rundown

Behind the name: Apply literal interpretation

Country: Nigeria, 2018 

Genre: Melodrama

Production: Heart in Motions Pictures

Director: Bodunrin Sasore

Cast: Zainab Balogun (as Sade), Seun Ajayi (as Tope), Nkem Owoh (as Papa Francis), Onyeka Onwenu (as Mama Francis), Richard Mofe-Damijo (as Sade’s father, Tina Mba (Sade’s mother), Chidinma Okebalama (as Anna), Shawn Faqua (as John), Eku Edewor (as Asa)

Compare to: Road to Yesterday (for the drama)

Hate it or Love it? Appreciate it


Synopsis in a Sentence: A mother with a drug addiction experiences a deep tragedy in her household, and then God calls... 


On Writing: The Plot

The story goes from conventional to catastrophic in a single act… in terms of the case depicted, not the writing. The writing is fairly good and really atypical for the Nollywood space. And the melodrama is brave and daring. It explores themes of faith, addiction, mental and emotional health, family, and purpose. Now that’s a load for a modern Nollywood production! For the uniqueness of the angle, an imaginative piece.

But be warned, the story peaks fairly early, and then descends slowly, in an otherwise slow burn… without the explosive boiling point. 

(3/5)


On Acting: The Cast 

A good one.  

Overall, the cast is believable, and for the theatrical concoction that attracts Nigerian productions, that’s a very good thing! 

Zainab Balogun is the lead of the film, Sade, and she delivers her character very well. A great improvement since her first appearances on the big screen, and we’re all here for it! 

Seun Ajayi is Tope, husband to the lead and he’s good also, a decent portrayal of the character. 

It’s great to see Nkem Owoh play Papa Francis, and Onyeka Onwenu deliver Mama Francis, and they’re a great act in their typical (perhaps typecast) roles. 

Richard Mofe-Damijo is, of course, the wealthy father, and Tina Mba plays his partner, and the mother of Sade. Same same the roles go. 

Chidinma Okebalama is Anna, Shawn Faqua is John, and Eku Edewor is Asa in this movie. 

Overall, a good cast, overall some convincing acting. Overall, not entirely remarkable. 

 (3.5/5) 



On Production: The Creativity

Production is very clearly the star of this film! It’s shot absolutely stunningly, and out-rivals any of the best Nollywood productions, perhaps ever! 

The creative filming, editing, and cinematography weave perfectly into the story, and in fact, enhances it. Honestly, throughout the film, while other elements threaten to weaken the movie and its delivery, the visual language, tone and special effects salvage it all! 

Director and writer, Bodunrin Sasore delivers some stunning shots, vibrant visuals, and compelling effects. Some well deserved praises go to him, and the entire production team behind the scenes who never quite get enough credit for all the work they’ve wondrously accomplished!

(4/5)                                              


On Resolution: The Conclusion

It ends alright, and the conclusion may be surprising to some, but even a melodrama needs an up-tick, right? The question is; is it? 

(3.5/5)


The Verdict: A well-produced melodramatic piece. An overall good watch, for its fairly unique premise, all with very good production sequences.  


Overall Score = 14/20




Review - Namaste Wahala (2020 Film)

Sunday, April 25, 2021

 Was fairly keen on watching this Nollywood meets Bollywood production! 


Loose Translation = Hello Trouble!


The Rundown

Behind the name: Hello Trouble!  

Country: Nigeria, 2020

Genre: Rom-Com

Production: Forever 7 Entertainment 

Distribution: Netflix

Director: Hamisha Daryani Ahuja

Cast: Ini Dima Okojie (as Didi), Ruslaan Mumtaz (as Raj), Richard Mofe-Damijo (as Earnest), Joke Silva (as Shola), Sujata Sehgal (as Meera), Ibrahim Suleiman (as Somto), Frodd (as Raymond)

Compare to: Chennai Express

Hate it or Love it?  Entertain it


Synopsis in a Sentence: A Nigerian girl and Indian guy literally collide on a beach and fall into instant love, and of course their families have no chill




On Writing: The Plot

The story is really, honestly corny. The concept is cool and could be fun, but somehow, doesn't quite land. Could it be the feigned depth? The premature sprint into love? The trite opposition of their families? Whether the culprit is one or all of these, the plot is quite unexceptionally delivered. 

For being the first of its kind though, and for reflecting the marriage of cultures that Nigerian-Indians have been able to create over time, it deserves recognition. 

(3/5)


On Acting: The Cast 

A fairly good cast, but overall, underwhelmingly delivered action. Because it is corny. But oh well! 

Ini Dima Okojie is Didi, and she’s believable as a love-interest, but hardly so as a lawyer. Is it her lines? The plot? The lack of depth of her character? What more can be said? Still, she is interesting to watch. 

Ruslaan Mumtaz is Raj, the male love interest and he’s alright, yet some delivery is… corny. Could it be the lines or the unbelievable jumps his character is forced to make into love? Who knows? Eye candy to watch though. 

Richard Mofe-Damijo is lawyer-father Ernest, and by now, he’s played this 100 times so… is it trite? Still, he is believable. 

Joke Silva is sophisticated mum, Shola and of course, she’s great. Could be the ace of the production. 

Sujata Sehgal makes her Nollywood debut as Meera, and she’s quite good as the Indian mother protecting her son from… the unknown… yet our introduction to her performance lacks the intensity it needed to be convincing. Otherwise, a good delivery overall. 

And 2019 Big Brother Nigeria contestant, Frodd, makes his big-screen debut as Raymond, a convincingly entitled loser-brat! 

Overall, a good cast who unfortunately falls victim to an undeveloped plot line… 

 (3/5) 



On Production: The Creativity

Production is fair. It’s quite alright and loses itself in some cases, but it’s certainly not all bad. Perhaps it’s the best thing the movie has offered yet.. but then it’s not. 

(3.5/5)                                              


On Resolution: The Conclusion

It ends with the expectation that there will be a part two, because there is hope that this movie can redeem itself with a sequel that captures the wahala, and fun, of a Nollywood-Bollywood-Indian-Nigerian wedding! 

(3/5)


The Verdict: A lukewarm, underwhelming, yet fairly light-hearted watch.  


Overall Score = 12/20








Review- Parasite (2019 Film)

Thursday, January 16, 2020
I consume so much media; TV, music, books and film, that I’m not very easily wowed, even by  great productions. However, once in a few years, maybe even a few decades, I find a brilliant jewel in a myriad of gems and rocks. And this past decade, I found this film. 
This movie is something else; of another grade; an actual piece of art, in film form, that is entertainment, and education, and elucidation, and commentary and beauty. A true, true masterpiece. 
Oscar pick for Picture of the Year and Best Director! An Amazing, amazing piece of art! 

The Rundown
Behind the name: (Korean: 기생충; Hanja: 寄生蟲; RR: Gisaengchung) 
Country: South Korea, 2019
Genre: Dark Comedy, Thriller (Tragi-Comedy)
Production Company: Barunson E&A
Director: Bong Joon-Ho
Cast: Song Kang-Ho (as Kim Ki-Taek), Lee Sun-Kyun (as Park Dong-Ik), Cho Yeo-Jeong (as Park Yeon-kyo), Choi Woo-Shik (as Kim Ki-Woo ), Park So-Dam (as Kim Ki-Jung), Lee Jung-Eun (as Moon-gwang), Chang Hyae-Jin (as Kim Chung-sook)
Compare to: Itself
Hate it or Love it? Absolutely love it! Devour it, Mull over it! Cherish it! 

Synopsis in a Sentence: Two families’ lives intertwine; one rich, one poor and then comedy, drama, thriller, and all round parasitism ensue

On Writing: The Plot
This plot is absolutely remarkable. The base of the story is quite simple, but yet beautifully layered, and nuanced and rich. The story starts with an exposition that gives us the background into our eyes of the film—the poor family who lives in a basement apartment, and everything unravels from there. 
The writing takes us through rising action that leads us to experience the pretense, hustle, greed, and fear that life can bring, and we are left with a climax that explodes only to reveal the beauty of its falling action, and a resolution that leaves us thinking through all the layers of real life implications in society.
The writing is so good that it lands on you, transports you, engulfs you into the plot of the story so that when it ends, you’ll need a minute(or two) to deconstruct the staggeringly phenomenal artistry you’ve just been privileged to witness & experience! Wondrous writing! 
(5/5)


On Acting: The Cast 
Not sure what courage it took for a cast to take this on, because all elements of the film are so perfect that bad acting would stick out like a sore thumb; but of course, the cast matches the plot and production and direction seamlessly, bringing the film to life. 
Let’s walk through the cast’s work through the film. There is a scene where veteran actor, Song Kang-Hok, who plays the father of the poor family, Kim Ki-Tae, is coached in acting by his son, Kim Ki-Woo (who is played by actor, Choi Woo-Shik). This is quite a ridiculous scene to watch given that, as one commenter put it; “It’s like watching Tom Holland (Spider Man) give acting lessons to Robert Downey Junior (Iron Man).” In any case, it’s a testament to the cast’s seamless relay throughout the film. 
Similarly, we see Park So-Dam and Cho Yeo-Jeong bounce off each other in a scene where they are introduced; Park as a fake “expert” art teacher, and Cho as her employer, the rich mother. We believe them, and though we’ve seen them in many other roles, we believe they are and always will be these characters. 
Then there is Lee Sun-Kyun, famous actor, who we see embody his role, and Jeong Hyun-Jun, who does so as well; there are so many people to praise, and they all work symbiotically to produce this great work!
And fun fact, editor Yang Jin-Mo cut this masterpiece of a movie on a no-longer supported, outdated version of Final Cut Pro. 
Now, dare we end the praise of the cast without the director, who is arguably the superstar of the whole thing? No. We do not dare. We must...
We have to give a special feature to director Bong Joon-ho, who certainly deserves the best director award and every accolade because. Because. What a mind, what artistry, what expertise to possess to envision and execute such a beguiling art piece. Truly, truly beyond oscar worthy work! 
A striking cast! 
 (5/5) 


On Production: The Creativity
It would—could—have been so easy to mess up such a wondrous piece of a work that is the story at the production stage because the nuance is so fine, so delicate, yet the juxtaposition between extremes is so jarring, so stark that it runs the risk of insulting its audience with it’s mundane initiation, yet lambasting the same audience with its sardonic commentary on society. Yet, paradoxically, it does none of that. 
The timing & pacing is art, rhythm is art; picture production and sound engineering is science. And synthesised all together, production is genius. The delivery of creativity in its best form. Simple genius. 
(5/5)                                              


On Resolution: The Conclusion
Never has an ending been so pretty, so poetic, so perfect. The plot of the movie lands so sardonically sublimely that it is a beauty. 
It is hard to deconstruct and determine the exact piece that makes this film a masterpiece, but if mandated, the resolution might be the ace of the whole thing. Remember the exposition? And the climax? And the cast, and the rhythm of the production? Well, the resolution melds them all to become art—literature, music, photography, production and acting—all at their finest. Film at its finest. Pulchritudinous perfection! 
(5/5)

The Verdict: An absolute masterpiece, a stunningly, remarkable, actually consumable piece of art. Virtual perfection

Overall Score = 20/20