In an age where Nollywood movies are defying stereotypes, Kayode Kasum’s film “One Too Many” attempts to break free but falls short of contemporary standards. Kasum’s direction leaves the movie riddled with rough edges and an unfinished feel, detracting from its potential. The narrative follows Adesuwa (Dakore Akande) and her son Otas (Chimezie Imo), highlighting police brutality across three generations of their family. Despite touching on important themes like family bonds and delusion, the film’s lackluster direction and uninspired script coordination undermine its impact. Click here to see more information about the movie.
The Commendable Aspects
The film shines in its choice of locations and settings, capturing the essence of each scene with pictorial excellence. From the exterior to the interior of Amos’s (Ikpomwosa Gold’s) modest one-room apartment, the portrayal of the family’s struggling life is strikingly authentic. Every detail, from the bed and hanging trousers to the lantern and television set, contributes to the immersive experience of their daily existence. Adesuwa’s apartment realistically depicts lower-middle-class housing, while Senator Sodiku’s (Jide Kosoko’s) duplex reflects a humble and non-extravagant lifestyle. This explains why the senator’s son is schooled in a Nigerian university rather than overseas. Tonia’s house setting reflects her uncouth nature, while the prison yard, courtroom, and police station settings are impeccably portrayed.
Another notable aspect of the film is its dialogue, which is particularly rich. The conversations in One Too Many stand out amidst the numerous other elements in the movie and deserve recognition. Characters like Adesuwa, Otas, Senator Sodiku, and DSP Lekan deliver lines that cut deep, leaving a lasting impact on viewers long after they’ve watched the film. For instance, Adesuwa’s line, “It’s only the victims that remember. Even if they want to forget, the trauma never let them be,” resonates strongly.
The cinematography of the film also deserves praise, with well-captured scenes and clear, high-quality visuals. While the sound is generally satisfactory, but the song selection during the exposition phase appears to prioritize tone over lyrics.
The actors exhibit vitality and energy, breathing life into their roles despite the perceived shortcomings in the script’s organization and character development. Chimezie Imo continues to demonstrate his talent and spontaneity as an actor, while Dakore Akande delivers a solid interpretation of her character. Special mention goes to Funsho Adeolu and Joshua Richard for their commendable performances, marked by genuine facial expressions and emotional depth that are sustained throughout the film. However, Pelumi Shittu- Tonia, falls short in comparison. It is evident that Pelumi lacks the depth and connection to her character, failing to convincingly portray her role.
The Condemnable Aspects
Certain scenes in the film raise questions about whether the script underwent proper editing. For instance, there’s a scene where Otas searches for a phone in the car, which miraculously captures a clear video recording of events on the road from that angle. The unrealistic nature of this recording is evident, especially considering the angle it was supposedly captured from. Additionally, when Thomas revealed the video in court, it appears to have been edited with cut-and-join elements, which is disappointing considering Kayode Kasum’s experience as a seasoned director. This oversight detracts from the overall quality of the work, rendering it mediocre.
Furthermore, One Too Many suffers from a significant inconsistency regarding the timeline, particularly from the perspective of the reporter. Following Adesuwa’s revelation, the reporter’s voiceover states, “…Eric’s murder case takes a new turn as we await the next sitting in two weeks.” The tone and delivery are more suited to that of a narrator rather than a reporter. Moreover, despite the case being dropped and Otas moving on to launch his project (which logically should be more than two weeks after Adesuwa’s video release), the reporter still claims, “it’s barely 24 hours since the mother of the young man who was wrongly accused of murder…” This discrepancy is a glaring oversight in One Too Many.
Another critique is the movie’s pacing. After Otas is incarcerated, the film rushes through events with a sense of urgency, leaving many details unresolved. Senator Sodiku’s swift actions, such as requesting the exhumation and examination of his son’s body, seem hasty. Barrister Aminu also prematurely drops the case without thoroughly investigating the authenticity of the video evidence or forming a defense based on procedural errors. This rushed approach leaves room for other shortcomings to emerge in the film.
Also, Officer Nwafor’s portrayal by an actor with a noticeable Yoruba accent is a mismatch for the character’s supposed Igbo identity.
Additionally, the recurring mantra about the toughness of the streets feels out of place in a movie which lacks focus on street life. This repeated saying would be more fitting in films like Gang of Lagos (2023) or Shanty Town (2023).
Despite these issues, One Too Many stands out for its cinematography, setting, picture quality, and dialogue. However, viewers should not expect much from the plot and its development. The movie should be a 5 on a scale of 1 to 10. It is not the best in Kayode Kasum’s directorial repertoire. Films like Sugar Rush (2019), This Lady Called Life (2020), Kambili: The Whole 30 Yards (2020), Obara ‘M (2022), and others surpass One Too Many (2022) in quality.
Ibeh Abuchi Olinya is a graduate of English Literature and Education from the prestigious University of Benin, Nigeria. His poetry have appeared on Sub-Saharan Magazine, Nantygreens, Green Black Tales and others.
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