Justice in the Shallows: A Review of "A Crime Called Love"
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Overall Rating: ................ (3.5/5 Stars)
In the ever-evolving world of Nollywood, where crime dramas often blend high-stakes investigations with raw family betrayals, A Crime Called Love (2025) stands out as a taut, emotionally charged entry. Starring Timini Egbuson as the tormented Detective Deayo and Chioma Nwaocha in a pivotal role, this CHIOMA NWAOHA PREMIUM TV production dropped on December 29, 2025, clocking in at nearly two hours of non-stop tension. Directed with a keen eye for Nollywood's signature melodrama, it tackles corruption, loyalty, and survival in a way that feels ripped from Nigeria's headlines—think organ trafficking rings and shady politicians meeting grisly ends. But does it rise above the tropes, or does it stumble into familiar pitfalls? Let's dive deep.
As a veteran analyst of Nigerian cinema, I’ve watched the industry transition from the grainy, VHS-inspired dramas of the 90s to the high-definition, lighting-conscious era of "New Nollywood." A Crime Called Love sits comfortably in the middle—it’s a film that boasts the visual polish we’ve come to expect from modern streaming-era productions, yet it still clings to some of the structural melodrama that defined the home video era.
The Visual Palette: Cinematography and Mood
From the opening frames, the cinematography signals that we are in "Lagos High Life" territory. The camera work is generally stable, utilizing a variety of medium shots and tight close-ups that emphasize the emotional claustrophobia felt by Bridget (Chioma Nwaoha).
One thing the Director of Photography (DoP) gets right is the lighting consistency. In many lower-budget Nollywood films, night scenes are often either too muddy or unnaturally bright. Here, the hotel room scenes—where the bulk of the tension is built—are handled with a moody, amber-hued palette that suggests intimacy while hinting at the danger lurking in the shadows.
However, there is a recurring "TV-style" feel to the framing in the dialogue-heavy office and police station scenes. While the lighting remains professional, the shot composition occasionally lacks the dynamic movement that would elevate it from a high-end soap opera to a truly cinematic experience. The color grading is warm, perhaps a bit too saturated in the daytime exterior shots, but it serves the purpose of making the Lagos backdrop look aspirational.
The Sound of Suspense: Audio and Score
Sound design is often the Achilles' heel of Nollywood, but A Crime Called Love manages to avoid the most egregious sins. The dialogue audibility is crisp—a feat considering the background noise inherent in filming in Nigerian urban centers.
The musical score is a blend of suspenseful orchestral swells and contemporary Afro-fusion undertones. The music cues are mostly timed well, though there are moments during the investigative sequences where the score feels a bit too "on the nose," forcing the suspense rather than letting the performances breathe. Silence is a tool rarely used in Nollywood, and this film is no exception; there’s a persistent fear of "dead air" that keeps the background filled with sound, even when a quiet moment of reflection for Bridget might have been more powerful.
Costume and Class: Authenticity in Design
Production design in this film is a silent storyteller. The contrast between Bridget’s wardrobe and that of the "Big Men" she encounters speaks volumes about the socio-economic divide.
Madame Natasha’s Wardrobe: Her outfits are loud, expensive, and intentionally intimidating, perfectly reflecting her role as a woman who trades in human beauty and secrets.
The Honorable Saka: His attire—traditional, flowing agbadas—signals power and untouchability.
Bridget: Her costumes transition from the "working clothes" of her trade to the distressed, stripped-back look of a woman fighting for her life.
The makeup remains consistent, avoiding the common pitfall of "glam-makeup-in-prison" scenes. When Bridget is in distress, she looks the part, which adds a layer of much-needed realism to the stakes.
Narrative Structure: The Hook, the Drag, and the Payoff
The film opens with a classic "hook"—a dead body in a luxury hotel. It’s an effective way to grab a Nigerian audience that loves a mix of scandal and crime. The pacing, however, suffers from the "Nollywood Middle-Act Stretch."
There are subplots involving the internal politics of Natasha’s "agency" that feel like they could have been trimmed to tighten the tension. The use of flashbacks is handled well, providing context for the poisoning without feeling like a narrative crutch.
The resolution is where the film finds its footing. Unlike many thrillers that rely on a deus ex machina, the reveal of the Ricin poisoning and the 72-hour window is a genuine "Aha!" moment that rewards the viewer for paying attention. It shifts the blame from a simple crime of passion to a cold, calculated inheritance play.
Plot Logic and the "Ricin" Twist
Let’s talk about the science. In a move that feels inspired by Breaking Bad, the introduction of Ricin as the murder weapon is a sophisticated touch for a Nollywood script. It moves the story away from the "juju" or "ritual" tropes that often haunt Nigerian crime dramas.
However, some character decisions remain baffling. The wife’s decision to involve Madame Natasha—a woman who makes her living through discretion and secrets—to frame a girl seems like an unnecessary risk for someone smart enough to use Ricin. In the Nigerian context, the "wicked wife" trope is a staple, but here it is elevated by the motive of property and inheritance, a very real and litigious issue in modern Nigerian society.
Performance Review: Timini and Chioma
Timini Egbuson (Detective Deayo): Timini continues to prove why he is one of the most sought-after leads in the country. He brings a "cool-headed" energy to the detective role. He avoids the "shouting policeman" caricature often seen in Nollywood, instead playing Deayo with a quiet intelligence and empathy. His chemistry with the case—rather than just the characters—is what drives the second half of the film.
Chioma Nwaoha (Bridget): Chioma carries the emotional weight of the film. Her portrayal of a woman trapped between a life she chose and a crime she didn't commit is nuanced. She excels in the scenes where she is being interrogated, managing to look vulnerable without appearing weak.
The Supporting Cast: The actress playing Honorable Saka’s wife delivers a chilling, if somewhat predictable, performance. The standout, however, is the "whistleblower" employee at Natasha’s agency, whose brief but pivotal role provides the final nail in the coffin for the villains.
Thematic Resonance: Why This Matters to Nigerians
At its core, A Crime Called Love is a social commentary on several layers of Nigerian life:
The Vulnerability of the Hustle: It highlights the dangers faced by young women in the informal "escort" economy, where they are often the easiest scapegoats for the crimes of the elite.
Justice vs. Influence: The film explores whether a "nobody" can truly get justice when the victim is a "somebody."
The Domestic Battlefield: It touches on the dark side of Nigerian marriages where property rights and inheritance can become a motive for murder.
For the diaspora audience, the film offers a high-production-value glimpse into the complexities of Lagos' social strata. For the local audience, it’s a cautionary tale wrapped in an entertaining mystery.
The Verdict: A Step in the Right Direction
A Crime Called Love is not a perfect film. It drags in the middle and occasionally leans on melodrama. However, it is an intellectually honest attempt at a procedural thriller. It treats its audience as capable of following a forensic-led investigation rather than just a spiritual one.
The film succeeds because it anchors its high-stakes plot in human emotions—betrayal, greed, and the simple desire to survive. It’s a testament to how far Nollywood has come in terms of storytelling sophistication.
Who Should Watch This?
Fans of Timini Egbuson who want to see him in a more serious, investigative role.
Viewers who enjoy "whodunit" mysteries with a Nigerian cultural twist.
Anyone interested in seeing a crime drama that prioritizes forensic logic over superstitious explanations.
My Thoughts
If you’re looking for a weekend watch that offers more than just the usual romance or slapstick comedy, A Crime Called Love is a solid choice. It’s a film that respects your intelligence while delivering the drama that makes Nollywood famous.
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