Lakatabu, a crime thriller directed by Odunlade Adekola, showcases his trademark flair for blending action, comedy, and mysticism to create a drama underscored by his penchant for Yoruba cultural motifs. The story follows Lakatabu (Odunlade Adekola), a fearsome and mysterious criminal whose reign of terror instills fear in the hearts of many. Armed with a mythical power, his gang embarks on a series of audacious operations that leave the people and the authorities baffled.  

Though fascinating, the movie doesn’t offer anything new. From the opening scene to the end, there is an undeniable sense of déjà vu. That’s because Adekola draws heavily from his previous movies with similar themes, such as Mufu Olosa Oko (2013), Oyenusi (2014), Alani Pamolekun (2015), and Babatunde Ishola’s Fólórunsó (2015) to create a patchwork of events. This familiarity makes Lakatabu a bland regurgitation with no intention of improvement on those tropes. 

Beyond the violence, the film offers a timely commentary on social insecurity in the country. It uses Lakatabu’s reign of terror as a stark example of how corruption and betrayal within the government and police force exacerbate societal instability. Lakatabu, initially a tool for the king’s ascent to power, turns against the society he once helped shape after being betrayed. His actions—kidnapping, murder, and widespread terror—mirror the real-life consequences of unchecked power and corruption.

The screenplay, written by Odunlade Adekola and Akorede Ibrahim, with its blend of crime drama and social critique, stumbles in its execution. It suffers from significant plot conveniences, particularly in its third act. The introduction of Bolanle Ninalowo’s character, a kidnapping kingpin turned deputised agent of justice, feels forced and inconsistent. Initially portrayed as a stranger to Lakatabu, Ninalowo later discloses that they have known each other for years, a revelation that undermines the story’s internal logic. Employing similar tropes he used in the third act of Alani Pamolekun, there is also the shoehorning of Aduni Ade’s character as a deus ex machina to defeat Lakatabu. This incredibly lessens the film’s credibility. 

The end of the film unpacks Lakatabu’s grievances. This unfolds through flashbacks that reveal the king’s betrayal and assassination attempt on Lakatabu, underscoring the deep-seated animosity between the two. Additionally, it also explores Lakatabu’s love-hate relationship with the Babalawo who fortified him with mystical powers. While they add context to Lakatabu’s motivations, they fall into the category of worn-out tropes frequently employed by Adekola’s previous films and other works in the genre. The use of such overused elements buttresses a reliance on established formulas, resulting in a lack of creativity in the film’s resolution. 

Odunlade Adekola’s portrayal of Lakatabu can best be described as serviceable. Adekola effectively conveys Lakatabu’s stoic nature and ruthlessness but his portrayal lacks the emotional intensity that the role demands. Key scenes where he should display a wider range of emotions, such as moments of frustration or triumph, fall a bit flat. Adunni Ade delivers an average performance as the film’s unexpected hero. While she manages to capture some of the emotional turmoil and determination, her portrayal often feels one-dimensional. There are moments where she shines, particularly in a scene after being sexually harassed by Lakatabu and she begs for her life at the moment of death. Lateef Adedimeji, partially reprising his spiritually fortified character from Jagun Jagun, delivers an inconsistent performance. He shows moments of brilliance in his introductory scene and hooks our attention. But his enactment in other scenes is often erratic, failing to maintain the necessary gravitas throughout the film. Tina Mba, however, over-dramatizes her role. She breaks the immersive experience with exaggerated expressions and reactions that feel out of place in the otherwise gritty atmosphere.  

Despite its whimsical plot, Lakatabu serves as a visual treat. As a director, Odunlade demonstrates a keen eye for visual storytelling. The film is marked by sharp images that capture the differences between the serene community and the chaos unleashed by Lakatabu in his lair. 

The camera work is brilliantly done, with beautifully composed shots and effective use of colour. The definitive visual improves the erratic story by transporting us to a richly imagined world. The use of special effects, though minimal, is effective and well-crafted—enriching the story rather than distracting from it. With each frame, the film’s visual paints a clearer picture and draws us deeper into the narrative. The production design succeeds with sets and costumes that authentically represent the film’s setting and characters. The attention to detail in this department is evident in every scene, from the carefully chosen props to the culturally relevant attire.  

However, this attention to detail in set design, costumes, and camerawork does not reach its storytelling. The movie struggles to maintain a cohesive and engaging dialogue. At times, it captures the essence of the characters’ backgrounds and settings. But more often, it feels stilted and unnatural. Lateef Adedimeji’s chanting of incantations, for instance, is to show that he isn’t an ordinary person. It’s a mere tantrum, a weak attempt to jazz up the actions and to show the ruthlessness of Lakatabu. Also, the constant shift between seriousness and humour makes it difficult to fully engage with some of the actions. For example, the introduction of Broda Shaggi, a street boy whose greed leads him into Lakatabu’s lair, betrays the fluidity of the film for a schtick. 

By depending on tropes—recycling stories where the weakest character defeats a ruthless villain—Lakatabu misses the opportunity to explore more nuanced and original pathways to its familiar climax. This predictable approach to storytelling underscores the need for Yoruba filmmakers, including Adekola, to break free from conventional plot devices and craft more inventive and compelling narratives.

Lakatabu premiered at the cinemas on June 21.

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Side Musings

• Tope ‘Teddy A’ Adeniyi put in a decent performance as the second-in-command of Lakatabu’s gang. His calm demeanour and charisma cover up for Odunlade’s occasional hammed-up acting. 

• Broda Shaggi’s scenes are skits employed to buy time. Deploying his usual slapstick humour and exaggerated antics, Shaggi’s acting contributes nothing tangible to the story.

• The recycling of old stories seems to be the order of the day for Odunlade and his colleagues. Is this the dearth of creative thinking or mere lazy filmmaking?