The Nollywood industry has mastered the art of crafting thrillers deeply rooted in Nigerian culture, blending riveting action with socio-cultural authenticity. Suky, directed by Ola Cardoso and written by Isaac Ayodeji, emerges as a compelling addition to this genre. It offers a visceral narrative that oscillates between revenge, redemption, and the haunting shadows of fate. Anchored by strong performances and striking technical execution, the film delivers an immersive experience—even as its storytelling occasionally falters under the weight of its ambitions.
The film follows Sukanmi, nicknamed Suky (James Damilare Solomon), a young man thrust into a harrowing quest for vengeance after a childhood tragedy reshapes his destiny. The opening act traces Suky’s early years, which are marked by a traumatic event involving his father. This prologue, spanning the first 13 minutes, hooks viewers with its raw emotion and establishes the psychological groundwork for Suky’s transformation.
Transitioning to the present day, the story revisits Suky as a brooding adult, now seemingly adopted into a life of comfort. However, this stability unravels abruptly, catapulting him into a bleak new reality: a brutal prison environment. Here, the narrative explores Suky’s struggle for glimmers of hope while navigating a world where trust is a liability.
Suky shines brightest in its technical execution. The cinematographers crafted a visual language that swings between stark realism and poetic symbolism. The prison scenes, filled with dull colors and shot with tight, cramped angles, make you feel a deep, gut-level hopelessness, while the thoroughly choreographed fight scenes are amplified by sound design that makes every punch and grunt resonate.
One powerful symbol in the movie is when Suky frees a caged bird, showing the nurse breaking free from what was holding her back. What also stood out is how the film used Yoruba 99% of the time, a bold and creative choice for a Nollywood action story, making it stand out in its genre.
The original soundtrack also stands out as an impressive feature of the movie, carefully curated to blend traditional Nigerian themes with contemporary urgency.
James Damilare Solomon delivers a career-defining performance, balancing Suky’s vulnerability and ferocity with nuance. Supporting actors like Tobi Bakare (in a brief but memorable role), Femi Adebayo, and Bimbo Ademoye had extra roles, though the script did not leverage their potential fully on screen.
Where Suky stumbles is in its uneven pacing and underdeveloped subplots; the rushed transition from Suky’s adoptive life to his confinement feels abrupt, leaving emotional beats underexplored. Secondary characters, particularly a morally ambiguous Nurse and a politically charged Senator, lack a lot of depth, reducing their impact on the narrative. The final act’s open-ended climax, while hinting at a sequel, leaves key arcs frustratingly unresolved, begging for a more cohesive payoff.
Suky, however, is a testament to Nollywood’s growing prowess in genre filmmaking, marrying cultural specificity with technical polish. While its narrative inconsistencies and hurried pacing hold it back from greatness, the film remains a gripping ride, one that demands attention for its bold vision and standout performances. Should a sequel materialize, tighter character development and a more structured plot could elevate this promising franchise to iconic status. For now, Suky stands as a flawed yet fascinating entry in Nigeria’s cinematic landscape.
Rating: ★ ★ ★ ☆ ☆
Now streaming on Prime Video.
