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Overall Rating: ...................... 6.5/10
The Ultimate Test of "For Better or Worse"
Nollywood has long been obsessed with the domestic sphere, but few creators mine the drama of the Nigerian living room as consistently as Ruth Kadiri. Her latest offering, Ride or Die, featuring herself and the ever-reliable Deza The Great, attempts to navigate the turbulent waters of a high-risk pregnancy and the psychological toll it takes on a marriage.
As a veteran of this industry, I’ve seen countless "pregnancy dramas," but Ride or Die leans heavily into a specific, polarizing trope: the "difficult" pregnant wife. It’s a film that will spark heated debates in Nigerian households—is Janice a victim of her hormones, or is she a manipulative partner pushing a good man to the brink? Let’s break down the cinematic anatomy of this production.
Cinematography: Beyond the Living Room
Technically, Ride or Die follows the contemporary "YouTube-plus" aesthetic. The framing is clean, utilizing the high-ceilinged, lavish interiors typical of modern Lekki-set dramas.
Lighting & Framing: The lighting remains consistent, avoiding the "washout" effect often seen in lower-budget digital productions. There is a deliberate use of close-ups during the heated arguments between Janice and Alfred, capturing the sweat and the escalating frustration on Alfred’s face. This elevates the emotional impact, making the audience feel the claustrophobia of their deteriorating peace.
The "TV-Style" Trap: While the indoor scenes are well-managed, the film occasionally slips into a "TV-style" flat look during the daytime office scenes. However, the night shoots—particularly the pivotal, ill-fated pizza run—are handled with enough grit to communicate the danger Alfred is in. The visual mood shifts from the warm, golden hues of their early domestic bliss to a cooler, more sterile palette as the tension peaks.
Sound Design & Musical Cues
In many Nollywood films, sound is the Achilles' heel. In Ride or Die, the dialogue audibility is commendable. Even during the high-decibel shouting matches, the microphone quality holds up, and we don't lose key lines to "room echo."
The Score: The music is quintessential Kadiri-style—melodramatic strings that swell during moments of realization. While effective, it occasionally lacks subtlety.
Ambient Balance: One technical critique lies in the balance between the ambient background noise and the dialogue during the outdoor scenes. At times, the "street sound" feels a bit like a flat layer added in post-production rather than an immersive environment. However, the use of silence in the hospital after the accident is a powerful choice that underscores the gravity of the situation.
Production Design: Costume, Makeup, and Class
The production design does a heavy lift in establishing character arcs.
Janice’s Transformation: We see a clear visual decline in Janice. She starts the film in polished, vibrant maternity wear, but as her "delicate" state (as she calls it) takes over, her costumes transition to loose, unkempt loungewear. This visual storytelling supports Alfred’s complaint that she has turned into a "filthy animal".
Authenticity: The costumes accurately reflect the upper-middle-class Nigerian setting. Alfred’s corporate attire vs. his disheveled look post-sack tells a story of a man losing his grip on his identity as a provider.
Makeup: The pregnancy "glow" vs. the "stress sweat" is handled realistically. There is a particular scene where Janice looks genuinely drained, a testament to the makeup team’s ability to move beyond "glam" into narrative realism.
Narrative Structure: A Slow Burn to a Sudden Crash
The film utilizes a linear structure that focuses on the escalating "domestic palava."
The Hook: The opening hook is the joy of the 3-week pregnancy announcement. It’s relatable and sweet, which makes the subsequent descent into chaos more jarring.
Pacing: This is where the film feels most "Nollywood." The middle act drags slightly with repetitive scenes of Janice demanding food—first palm oil eggs, then sachet water, then neighbor's food, then pizza. While these illustrate her growing irrationality, a few of these subplots could have been trimmed to tighten the pace.
The Climax: The transition from the "Pizza Quest" to the "Distress Call" is the narrative peak. It’s a classic suspense builder—will Alfred make it back? Will the baby survive? The resolution is a bit rushed, offering a "happily ever after" that feels slightly unearned given the level of trauma inflicted.
Plot Logic & Societal Norms: The "Pregnancy Card"
Ride or Die dives deep into the Nigerian cultural belief that a pregnant woman’s whims are sacred. However, the film pushes this to the extreme.
The Pizza Run: Is it realistic for a woman to send her husband out at 11:00 PM for pizza in a city like Lagos after he just lost his job? To a Western audience, this looks like abuse; to a Nigerian audience, it’s a critique of the "over-pampered wife" trope.
Plot Gaps: One minor plot hole is the boss’s sudden change of heart. Losing a high-level job over "sleeping on duty" is one thing, but being rehired immediately after a car accident feels more like a "Deus ex Machina" to ensure a happy ending rather than a realistic corporate outcome.
Performance Analysis: The Heavyweights
Ruth Kadiri (Janice): Ruth is a master of the "unlikeable protagonist." She plays Janice with such conviction that you genuinely feel frustrated with her. Her ability to code-switch between a vulnerable, crying wife and a demanding, sharp-tongued queen is top-tier.
Deza The Great (Alfred): Deza is the soul of the movie. His portrayal of a man trying to be "the good Nigerian husband" while slowly losing his mind is nuanced. You see the twitch in his eye when he’s told to go and beg the neighbors for food. His chemistry with Ruth is palpable—they feel like a couple that has a history, which makes their fights more painful.
Bina (Supporting): The sister-in-law role is crucial here. She represents the audience’s voice, calling out the absurdity of Janice’s demands. Her performance provides the necessary friction to keep the plot moving.
Thematic Depth: Survival and Sacrifice
At its core, Ride or Die explores the Sacrifice of the African Man. Alfred loses his job, his peace, and nearly his life, all in the service of his wife’s pregnancy. It asks a difficult question: Where is the line between supporting your partner and enabling their toxicity?
The film also touches on Family Interference, shown through Janice's mother, who arrives to defend her daughter's "princess" status regardless of the cost to Alfred. It’s a biting social commentary on how in-laws can exacerbate domestic tension instead of diffusing it.
Scene Breakdown: The "Sachet Water" Incident
One of the most telling scenes is when Janice rejects bottled water for sachet water. This is a brilliant bit of writing because it taps into a very specific Nigerian "craving" culture—the idea that the cheaper, "nylon" water somehow tastes better or hits the "brain" differently during pregnancy. It’s a moment of levity that perfectly illustrates the irrationality Alfred is dealing with. It’s relatable, funny, and infuriating all at once.
The Verdict: A Mirror to Our Marriages
Ride or Die is not a perfect film, but it is an important one for the current Nollywood landscape. It moves away from the "Juju" and "Ritual" tropes to focus on the psychological warfare that can happen in a modern apartment.
The film’s greatest strength is its relatability. Every Nigerian man has a "pregnancy story," and every Nigerian woman has felt the overwhelming, irrational surge of hormones. By centering the story on a job loss, Kadiri adds a layer of "Real Life" stakes that makes the drama feel grounded.
The Critique: The ending is a bit too "neat." After Janice essentially causes Alfred to lose his job and get into a crash, a simple "I'm sorry" and a baby boy seem to fix everything instantly. I would have loved to see a bit more of the long-term emotional recovery.
Who Should Watch This Film?
Couples: It’s a great "conversation starter" for a Friday night in.
Expectant Parents: Take it as a cautionary tale—communication is key!
Ruth Kadiri Fans: If you love her brand of high-stakes domestic drama, this is a must-watch.
The Final Word
Ride or Die is a harrowing, emotional rollercoaster that showcases why Ruth Kadiri remains a powerhouse in the YouTube Nollywood space. It’s a film that demands you take a side. Are you Team Alfred or Team Janice?
Watch it for the performances, stay for the debate, and maybe—just maybe—don’t ask for pizza at midnight.
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