In this Brotherhood review, it is noted that the film’s attempt to break away from the usual narratives that are surrounded with identical themes is what elevates it to a glorified Nollywood movie.
While the themes portrayed in the movie are relatable to the average Nigerian and reflect aspects of society, it does not offer anything particularly new. However, the movie’s commendable deviation from trendy storylines, acting, and cinematography gives it the feel of old Nollywood tales but with improved directing and acting, and a consideration for the preferences of viewers.
In the beginning, we see a family on Christmas Eve, they are attacked and the parents are killed. There are two things to note here. First, the children’s reaction. We get to know that they are twins and definitely, and the story is about them. All they do is hold hands while watching the bodies of their parents. That’s questionable. If the death of their parents couldn’t make them cry at such a young age, then, it’s abnormal. It questions the reality of the scene being portrayed.
Secondly, the usual narrative would have followed that the children would avenge the death of their parents. I’m extremely glad that the movie does not follow this trail nor is it a counter reality. Although it is not proper, it is no news that some criminals get away with murder. Hence, Brotherhood shapes another causative effect of orphanhood rather than building on it as the plot. The focus of the movie is the lives of the two brothers, their polarized personal choices, and how society influenced them.
Brotherhood follows the story of orphaned twins (Tobi Bakre as Akin and Falz as Wale) who were raised by their Aunty (Ronke Oshodi-oke). The twins grow up to be on different sides of the law which gave raise to the nicknames they fondly call themselves; Ọlọpa and Ọdaràn. Akin joins the Ojuju boys after incarceration and upgrades their robbery strategy. Wale is a detective, gets a new job with the SWAT, gets married and the movie’s conflict is revealed.
As per casting and acting, the casting director made good choices. The main actors gave a top-notch delivery, I’m particularly impressed by O.C. Ukeje, Bright Okpocha (Basketmouth), and Tobi Bakre; their acting draws one into the movie. Falz did excellently and Ronke Oshodi, Zubby Michael, Toni Tones, Omawunmi, Sam Dede, Boma Akpore, Diane Russet, Dorathy Bachor, and Seyi Awolowo Jidekene Achufusi, Debo Adedayo (Mr. Macaroni), gave their best. The dialogues are mostly flat and predictable.
The cinematography gives a sneak peek into what Nollywood should be doing as regards filming. An attentive audience would not but notice scenes such as when Basketmouth yabs the gang after their wealth display at Wale’s marriage, the point Wale gets informed that the Ojuju boys were at his wedding when Akin kills Izzie, etc.
The setting and costumes couldn’t fit better. The fault lines are easy to point out. Falz’s messianic act when he saved his boss is too obvious in its attempt to put Falz in good light. The police car flip during the first robbery is unreal, the neat police car suddenly becomes dented and old. Also, the money is claimed to be moved by the police in a bullion van but in the actual scene, the bullion is scraped; a typical goods van is used. The blood shots on camera during shootouts are quite an old-age method.
The conclusion of the Brotherhood review speaks highly of the movie, describing it as a “pleasant surprise” that offers a refreshing taste of narrative. The film stands out for its excellent directing and better filming, which are well worth experiencing. Overall, the review recommends Brotherhood as a must-watch film for those who enjoy Nollywood movies or are interested in exploring the genre further. If you haven’t seen Brotherhood, it’s definitely worth checking out for a unique and enjoyable viewing experience.
The movie features excellent acting, good casting choices, and impressive cinematography, with some faults in the setting and special effects, making it a worthwhile watch.