Sports-themed films are characterised by inspirational and compelling plots. In these films, the subjects of the plot depict the spirit of competition, teamwork, and will to overcome the obstacles on their journey of struggles, triumphs, and growth. The Blind Side (2009), Rocky (1976) and Goal (2005) are examples that depict these features. While Uche Jombo’s self-directed Onye Egwu possesses some of these characteristics, the execution leaves much to be desired. It suffers from inconsistencies in style, plot, and performance, all of which heavily restrict the film from reaching its ceiling. 

Onye Egwu rolls together a coming-of-age and a coming-of-death story to make up its plot. Football superstar Alex (Zubby Michael), popularly known as Onye Egwu, is at the twilight of his career and might be forced to retire prematurely due to recurring injuries. When it seems like he’s about to lose everything, he goes on a spiritual journey to salvage his career for the sport he loves dearly. On the other hand, there is Nedu (Kayode Ojuolape), also nicknamed Onye Egwu after Alex, an exciting young talent in a small community; although it’s obvious that Nedu’s talent has outgrown his local team, his mother, Ngozika (Uche Jombo) can’t afford to send him to a professional academy without jeopardising the welfare of her other two children. With help coming from nowhere, Nedu’s chances of making it as a professional begin to dwindle. 

Watching Onye Egwu, it is clear that there is an uncertainty in style that impedes the delivery of the plot. Several events in the film look like incomplete thoughts and are devoid of definite intentions (especially in Alex’s story), with many plot details becoming inconsequential to the plot. Also, abrupt scenes lead to discord in the progression of events, making the two storylines not run in tandem with each other, as more adept editing would have achieved. With these early issues, we end up with a film that defers unnecessarily to comedy. Consequently, this causes inconsistency in style and waters down critical character-defining plot events. 

Furthermore, the level of attention paid to plot details, both big and small, is shoddy. Alex is supposedly an international superstar who has shone for both club and country, but we do not see proof of this remarkable career— not once do we see him in a football kit, neither do we see house adornments of a well-decorated career. We never meet the character that is projected to us, leaving us to fill too many gaps with our imagination. Alex is also supposed to be injury-ridden, having torn his ACL twice in two years. Coupled with the strain of a hectic football career, Alex should be walking with a limp at least. Instead, he looks like he could give some professionals a run for their money. There’s no sign that he is at the end of his career other than through redundant dialogue. Onye Egwu is held back by the neglect of these key but minor details that would have given the plot the depth it desperately needed. 

Collectively, the acting performances in Onye Egwu are disappointing, chiefly due to the inadequacy of direction. An exemption is Uche, who despite her dual roles on either side of the camera manages to deliver a decent performance among the cast. Most of the actors playing the central characters do not embody their characters convincingly; they look uncomfortable on screen as they deliver their lines out of sync with the action. Thus, causing further unbelievability in an already tedious exhibition that recalls industry veterans.

Sport-themed films are also usually filled with actions accentuated by their cinematography, such as perfectly timed shorts, and angles that make the action look even more dramatic. However, Onye Egwu does not enjoy these features from its League One cinematography helmed by Jonathan Kovel (Swallow). The film’s technicals add no dramatic essence to a laborious watch that is unsure of what it wants to be. 

As with many of our films, Onye Egwu falls short of its potential due to a lack of proper direction and attention to execution, preventing it from being a good film. The film’s likely saving grace is its rarity as a sports-themed Nollywood film, which might help it achieve cult status and possibly save it from potential obscurity.

Onye Egwu premiered on Prime Video on July 19, 2024.

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Side Musings

• The cinematography could have been way better.
• Onye Egwu means the musician, right? 
• Why are they not using club doctors? 
• Where is his agent? 
• What’s the naked scene for? 
• Prime is quickly becoming another YouTube for Nollywood movies.
• It gets so boring quickly.