Nigerian movies have come a long way. There was a time when our TVs and DVD shelves were flooded with Nigerian films. These films, often centred around themes of love religion and witchcraft, were a reflection of the audience's hunger for African stories.
While many around me, especially the older generation, enjoyed these films, I couldn't stand them. The picture quality was lacking, the repetitive use of the same GarageBand-style soundtracks was grating, and the endless serialisation of single-story concepts was exhausting.
To be honest, Nigerian movies were the bane of my entertainment experience. The fact that the same actors seemed to be in every other film didn't help matters.
So, you can imagine my skepticism when I decided to get comfortable and watch the latest Nigerian production on Netflix.
You might be wondering what drove me, given my history with Nigerian films, to hit play on yet another one. Well...
Tòkunbò
With a budget of $200,000 and an almost 2-hour runtime, Tòkunbò is a 2024 Nigerian suspense thriller and drama film on Netflix.
Directed by Ramsey Nouah (yes, that Ramsey Nouah) and produced by Joy Odiete and Chris Odeh, the film was shot in Nigeria and Sèmè, Republic of Benin.
It stars Gideon Okeke, Norbert Young, Chidi Mokeme, Funlola Aofiyebi-Raimi, Stanley Chibunna, and Darasimi Nadi.
Synopsis
The film follows Tòkunbò, played by Gideon Okeke, a former car smuggler who has just three hours to deliver a government official's daughter to her captor, or his family will face dire consequences.
Familiar premise, right?
What works
It’s clear that when writing this movie, character motivations were a priority. This is one of those films where you can really understand why the characters do what they do.
The casting is spot on, and the performances, while keeping that familiar over-the-top flair, are commendable.
Darasimi Nadi, the youngest actor in the cast, delivers her lines exceptionally well, her dialogue is quick, snappy and unpredictable, she, in her delivery, is surprisingly able to effortlessly keep up with the other actors.
Gideon Okeke, who plays the lead, not only has the right look and physique but also nails the expressions and reactions. Interestingly, he has fewer lines compared to the rest of the cast, but he still leaves a strong impression.
However, it's Gaza, played by Chidi Mokeme, who steals the show. As the villain, his line delivery, though sparse, is exceptional. He effectively establishes himself as a credible threat.
The pacing of the story might not be perfect, but the editing is on point. It's snappy, making the film feel larger in scope, giving the viewer the sense of traversing numerous locations in a short span of time.
The wide establishing shots also contribute to this effect. I particularly appreciated how much ground was covered in the first act storywise and scope wise.
Visually, this is a beautiful movie—the kind of beauty that would make any cinematographer smile.
The stunning establishing shots of Nigeria, the shallow depth of field that keeps us connected to the important subject in a frame, and the creative camera work all contribute to an atmospheric, visually pleasing experience. Muhammad Atta Ahmed, the cinematographer, deserves credit for this.
The set and costume design do a great job of bringing the world to life, especially Gaza's lair, which is impoverished, perfectly reflecting the contrasting opulence presented by the subplot.
The music, while not groundbreaking, was decent. I even found myself searching for Gaza's theme song after the film ended.
Overall, the film’s structure and direction are easy to follow, making for an easy watch. There’s some solid foreshadowing, and a few unexpected twists, I mean, there's something they did with the primary protagonist's motivation that surprised me, I didn't think they were going to take the story there.
What didn’t work
If you’ve seen The Transporter 2 starring Jason Statham, it’s clear that Tòkunbò borrows heavily from that storyline. Beyond that, the film is riddled with predictable tropes, I mean during the opening you get the classic “I am done” and in the back of your end you find yourself thinking, “no you are not”.
While I enjoyed Gaza as a villain, he’s a one-dimensional character. He’s the classic bad guy, lacking depth, which could have been mitigated if the less intriguing secondary villain hadn’t taken up so much screen time.
The other villain, a typical white-collar corporate type, didn’t add much to the story either and his arch while interesting, could not come close to the heights that Gaza has set.
There were also a few plot holes. For instance, the daughter is established as a swimming competitor, yet she nearly drowns when something happens to the car at one point.
Additionally, the protagonist’s struggle during a particular moment in the third act felt inconsistent with what had been established in the first act (him as someone who trains regularly).
The fight choreography in that scene, while beautifully shot, left much to be desired.
That particular scene made me appreciate the excellence of the action choreography in Itifaki, a short film from Kenya, which I believe still outshines the hand-to-hand combat in this movie and others like the south African action movie Heart of the Hunter.
The pacing during the second and better part of third act could be better. The story really slows down with the introduction of a political subplot
Conclusion
Does this movie borrow a lot from Transporter 2? Yes. Are the tropes predictable? Absolutely. But even with all the flaws, Tòkunbò is still an enjoyable, well-cast, competently shot, and well-structured suspense thriller.
It doesn’t ask too much of the audience, choosing to entertain rather than hammer home a heavy theme.
Now, don’t get me wrong—the primary conflict is triggered by a political move, and it’s clear that the producers had a message to convey. However, that message is overshadowed by everything else that makes this film worth watching.
