Read a review on the movie ‘Reverse’ by Sola Ojo below…
Linda Ikeji’s “Reverse” stands as one of the most impressive Nollywood offerings of the year, delivering a powerful narrative that overcomes its very few shortcomings to present a thought-provoking exploration of cause and effect in Nigeria’s bustling metropolis.
The film’s greatest strength lies in its storytelling, which masterfully threads seemingly random events into a cohesive tapestry of consequences. For the outsider, the thought that so many frustrating events may affect the same characters within a few hours may seem.
However, anyone familiar with the madness of Lagos will recognise the authentic portrayal of the city’s unpredictable nature, where such coincidences are not merely possible but perhaps inevitable.
Director Bryan Dike remarkable skill in bringing this complex narrative to life. The film’s various characters—from petty thieves and irritable store assistants to horny boyfriends, police officers, welders, and street urchins—are depicted with an authenticity that even the most dramatic moments are recognisable.
Nothing in “Reverse” feels exaggerated within the context of Lagos’s chaotic energy.
The cast features a well-balanced mix of industry veterans and emerging talents. Seasoned actors Hilda Dokubo and Antar Laniyan deliver the reliable performances we’ve come to expect, while younger stars like Susan Pawjok and Yvonne Jegede hold their own admirably. That said, some of the less experienced cast members occasionally falter, with moments of uneven acting that momentarily disrupt the film’s otherwise immersive experience.
“Reverse” is a story about karma—how our actions, however small or seemingly insignificant, ripple outward to create consequences we could never anticipate. This theme crystallises in the parallel journeys of Ifeoma’s work and family, how her day starts pretty normally before her story concludes in tragedy.
It’s in Ifeoma’s character arc where my only issue with the film lies. While “Reverse” excels in most aspects of its storytelling (earning a solid 9/10 for narrative construction), it falters in its portrayal of Ifeoma as a character deserving of her fate. As a financial officer in a healthcare institution in Nigeria, Ifeoma is depicted as lacking compassion, yet she appears to be simply performing her duties with professional efficiency, albeit in a manner that prioritises institutional policy over individual circumstances.
This represents a missed opportunity to address the systemic failures of Nigeria’s healthcare system rather than vilifying an individual operating within that flawed framework. The film could have delivered a more nuanced commentary by acknowledging how institutional pressures shape individual behaviour, instead of suggesting that Ifeoma’s strictness to her professional responsibilities somehow justifies her catastrophic end.
From a technical standpoint, “Reverse” delivers competently across all production elements. The cinematography effectively captures both the vibrancy and grit of Lagos, while the costume design authentically reflects the characters’ socioeconomic positions. These elements serve the story without drawing undue attention to themselves—exactly as they should.
For me, storytelling remains the most important criterion for evaluating any film and “Reverse” succeeds brilliantly in this regard. The story’s intricate construction and thematic resonance elevate it above many of the other Nollywood movies you will see this year. While not without imperfections, it is essential viewing for anyone interested in the evolution of Nollywood storytelling.
