Akay Mason’s 'Red Circle' (2025) plunges viewers into Lagos’s criminal underbelly through the eyes of Fikayo Holloway (Folu Storms), a journalist whose pursuit of truth exposes systemic corruption and personal peril. With a star-studded cast and ambitious storytelling, the film navigates themes of power, privilege, and justice while delivering suspenseful twists. Here’s an in-depth analysis of its triumphs and shortcomings.
"Red Circle" follows Fikayo, a wealthy lifestyle journalist determined to shed her "socialite" label by investigating a crime syndicate linked to her best friend Venita’s (Omowunmi Dada) murder. The narrative intricately weaves her dual struggle: evading her family’s expectations while uncovering a web of drug trafficking, political collusion, and murder orchestrated by a shadowy businessman.
Key plot twists, such as Venita’s early demise and the late-act revelation of a familial betrayal, are executed with precision. Unlike many Nollywood thrillers that rely on shock value, "Red Circle" plants subtle clues—like Fikayo’s fraught relationship with her father (Femi Branch)—that make the final betrayals feel earned. However, the third act stumbles with overcrowded subplots, diluting the impact of its climactic showdown.
"Folu Storms" delivers a career-defining performance as Fikayo, balancing vulnerability and tenacity. Her portrayal of a privileged yet morally driven journalist anchors the film, particularly in scenes where she confronts her family’s complicity. 'Omowunmi Dada' shines as Venita, infusing warmth and grit into her limited screen time, while 'Lateef Adedimeji' steals scenes as Oshisco, a morally ambiguous gang leader whose loyalty drives pivotal moments.
However, not all casting choices land. 'Tobi Bakre’s Detective Kalu feels underdeveloped, with a rushed backstory and lackluster chemistry with Storms. Similarly, veteran actress 'Bukky Wright is underutilized as Fikayo’s mother, reduced to a few stern glances despite her potential to elevate the family dynamics.
The film’s strongest asset is its exploration of privilege and accountability. Fikayo’s access to wealth and influence contrasts sharply with Venita’s working-class struggles, questioning whether justice is attainable for those without societal leverage. 'Red Circle' also critiques media ethics: Fikayo’s boss (Patrick Diabuah) prioritizes clickbait over hard-hitting journalism, mirroring real-world debates about media integrity in Nigeria.
Director Akay Mason described the film as “a story about truth and power,” and this resonates in scenes where systemic corruption protects elites. However, the screenplay occasionally prioritizes melodrama over nuance—such as a heavy-handed misogynistic joke that feels contrived.
Visually, 'Red Circle' is a milestone for Nollywood. Sweeping shots of Lagos’s contrasting landscapes—opulent estates versus gritty slums—underscore its class divide themes. Fight sequences, particularly a dockside confrontation involving Oshisco, are choreographed with Hollywood-level intensity.
Yet technical flaws persist. Sound editing inconsistencies (e.g., muffled dialogue during tense scenes) and uneven pacing in the second act disrupt immersion. The score, while atmospheric, overuses generic suspense motifs, missing opportunities to reflect Lagos’s vibrant sonic identity.
Performances Storms, Dada, and Adedimeji elevate the material with emotional authenticity.
Plot Twists: Well-foreshadowed revelations avoid gimmickry, rewarding attentive viewers.
Production Design: Luxurious sets and authentic Lagos locales enhance realism
Pacing: A bloated runtime (1h59m) sags under redundant subplots, including a forgettable romance arc.
Underdeveloped Villains: The syndicate’s leaders lack depth, reducing their menace to generic “evil rich” tropes.
Predictability: Some twists, like Venita’s fate, are telegraphed early, lessening their impact
Compared to Kemi Adetiba’s King of Boys' (2018), 'Red Circle' adopts a more intimate lens, focusing on personal stakes over grand political machinations. While 'King of Boys' excels in world-building, 'Red Circle'’s strength lies in character-driven drama—though it lacks the former’s iconic villains or cultural resonance[.
The film also echoes themes from 'The October 1st' (2014), particularly in its critique of colonial-era power structures repackaged for modern Nigeria. However, its blend of thriller and social commentary falls short of the narrative cohesion in Steve Gukas’ '93 Days' (2016).
'Red Circle' is a bold, if imperfect, step forward for Nollywood. It proves the industry can produce thrillers with glossy production values and complex protagonists, even if its ambitions occasionally outstrip execution. For international audiences, it offers a fresh perspective on Nigerian storytelling—one that prioritizes emotional stakes over exoticism.
While not as groundbreaking as 'King of Boys' or as tightly scripted as 'The Figurine' (2009), 'Red Circle' solidifies Akay Mason’s reputation as a director unafraid to take risks. Its flaws are outweighed by standout performances and a willingness to confront uncomfortable truths about power and privilege in Nigeria.
Rating: 3.5/5
'Red Circle ' is now showing in Nigerian cinemas and expands to the UK on June 20. For fans of crime dramas with social relevance, it’s a compelling—if uneven—addition to Nollywood’s growing thriller canon.
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