Alakada – Bad and Boujee: An Unsatisfying Installment

The Alakada franchise, spearheaded by Toyin Abraham, has long been a staple of Nollywood, blending humour with social commentary to highlight societal pressures and the absurdities of modern life. The latest instalment, Alakada: Bad and Boujee, directed by Adebayo Tijani, promised to continue this tradition while tackling themes of social media culture, class struggles, and the pursuit of validation in contemporary Nigeria.

With a a challenge like Queen Lateefah on this thematic subject, expectations were high for a fresh take that could elevate its narrative and provide meaningful commentary.

However, after years of revisiting the same exaggerated lies, outrageous schemes, and shallow resolutions, one question lingered: would this film bring something new to the table, or would it fall into the trap of recycling old formulas?

Story

The film attempts to explore themes of authenticity, societal pressures, and the influence of social media on personal identity, with its protagonist navigating the tension between her aspirations for glamour and the reality of her humble origins.

However, the narrative undermines its own intent by refusing to explore these themes seriously. For instance, Yetunde’s uneducated and exaggerated lies, meant to be the foundation of the film’s comedy, have grown tired after several instalments. The repetition of her antics lacks the impact it once had, diminishing the potential for meaningful commentary.

While the story tries to enforce a moral resolution by making Yetunde’s lies catch up with her, the ending feels contrived, especially as her friends and loved ones abandon her, blaming her for their shared failures. The forced redemption arc, complete with Yetunde crying and showing remorse, feels hollow and unearned, given her consistent inability to reflect or change.

Plot

The plot revolves around Yetunde Animashaun’s quest to maintain a glamorous online persona despite her modest background. Her fabricated lifestyle and pursuit of fame drive the film forward, but the plot’s lack of direction is glaring. It often feels like the writers are inventing plotlines on the go, leaning heavily on comedic gags and “vibes” without a clear narrative structure. The over-reliance on Yetunde’s lies results in repetitive scenes that eventually lose their humour and purpose.

New elements are introduced haphazardly, such as Yetunde’s sister’s (Mayowa) abusive relationship, which is treated with baffling triviality. Yetunde’s deliberate ignorance of her sister’s plight to benefit herself only deepens the film’s disconnect between its comedic tone and darker subplots. When these serious issues are “plotfully” exaggerated, the emotional weight is lost, and the film never fully engages with them.

Following that, the death of their elder brother, Jide, is another moment meant to add emotional depth but Mayowa introduces serious allegations against her boyfriend out of nowhere. Instead, it feels like a sensational attempt to tug at the audience’s heartstrings to pity Mayowa and get angry or upset with Yetunde.

Even the final act, which introduces a revenge subplot against Madam Sharon, seems shoehorned in, stretching the runtime unnecessarily and leading to an abrupt and unconvincing “happy ending”. The film would have benefited from trimming at least 30 minutes of these extraneous plotlines and focusing on a more coherent and meaningful progression.

Performances

Toyin Abraham’s portrayal of Yetunde Animashaun, the central figure of the Alakada franchise, feels over-reliant on a formula that has grown stale over the years. While her exaggerated lies and outlandish schemes occasionally draw laughs, the humour often falls flat. The emotional connection that should tie the audience to her character is missing, as Yetunde remains stagnant across all instalments: failing to learn, grow, or develop. The film’s attempts to infuse lessons about the consequences of dishonesty feel tacked on and lack authenticity, as Yetunde’s journey offers no genuine progression.

Odunlade Adekola delivers a competent yet uninspired performance as Brother Jide. His presence is serviceable, and his key moment, delivering the ominous line, “One day, you’ll need someone to believe you, and no one will”, foreshadows Yetunde’s downfall.

Bimbo Ademoye as Rebecca and Adeyela ‘Omo Ibadan’ Adebola as Abebi bring moments of levity and sincerity to the narrative, albeit within the limitations of the script. Ademoye’s Rebecca, often serving as the voice of reason amidst Yetunde’s chaos, demonstrates a balance between humour and sincerity, cautioning Yetunde against her escalating fabrications. However, like Abebi, her role is ultimately overshadowed by the film’s lack of meaningful character development.

Ini Edo’s Madam Sharon provides an intriguing duality as both a benevolent socialite and a sinister organ harvester. Her commanding presence adds depth to the film’s darker subplot. Lolade Okusanya as Mayowa, Yetunde’s sister, struggles to balance her portrayal of a domestic abuse victim. Her comedic delivery of sensitive moments trivialises the gravity of her character’s suffering, making it impossible for the audience to take her journey seriously even when the film escalates her plight for dramatic effect.

The film also includes IK Ogbonna and Bukunmi Adeaga-Ilori (KieKie). KieKie’s exposure of Yetunde’s lies is a predictable yet entertaining highlight, showcasing her usual comedic flair. However, the decision to base this twist on a Yoruba misunderstanding feels contrived, especially considering KieKie’s well-known Yoruba heritage and comedic persona.

The performances overall range from functional to amusing, but they are hampered by the uneven script and tonal inconsistencies, making it difficult for the cast to fully engage the audience.

Technical Aspects

The visuals in the film are serviceable but lack any striking or memorable qualities. However, the costume design plays an unexpectedly significant role, particularly in the character of Shola Shine Shine (Ronke Odusanya). In the final scenes, her bandana subtly foreshadows her involvement in the plot twist, signifying a change in her actions and choices. While this may not have been a deliberate move by the filmmakers, it adds an unintentional layer of meaning for viewers who pick up on it.

Later, her shift into a polished, clean outfit for the final confrontation (though symbolically suggesting readiness for action) feels out of place within the world of the film. Dressing in a snazzy top, shorts, and pristine trainers for a fight detracts from the authenticity of the moment and inadvertently elicits chuckles.

The film also suffers from a noticeable continuity error, particularly in the last scenes featuring Madam Sharon. During the confrontation, she is seen without a wig, when she’s arrested, she’s in a wig, moments later, in police custody on TV, she is suddenly wearing a scarf. This inconsistency, whether an attempt to retroactively address earlier mistakes or a simple oversight, highlights a lack of attention to detail. These technical missteps, while not major, contribute to the film’s overall lack of polish.

Final Thoughts

In the end, Alakada: Bad and Boujee feels like a frivolous and unnecessary addition to its long-standing franchise. This December brought two competing Nollywood staples back to the screen: Everybody Loves Jenifa and Alakada: Bad and Boujee. But sadly, both suffer from the same flaws. Neither offers anything new or meaningful, relying instead on nostalgia and audiences’ past affection for their protagonists. This reliance on old formulas, combined with uninspired storytelling and a lack of polish, leaves little to appreciate.

It was telling to hear a surprisingly large number of audience members audibly hiss at the end of the film as they exited the cinema. A reaction that underlines the film’s failure to meet even modest expectations.

Verdict

Alakada: Bad and Boujee is disjointed, uninspired, and fails to justify its existence within the franchise. This isn’t hate; it’s simply an honest critique of a film that, unfortunately, fell far below its potential. We rate it a 2 and half out of 5 stars.

Rating: 2.5/5