Mo Abudu is on a mission to make Nigerian life happier. The wedding ended with a celebratory celebration. The new image Royal Hibiscus Hotel directed by Ishaya Bako and which was shown last year at the Toronto International Film Festival ends with a Disney favorite, something about "happy." "

Before we get there, we're confronted with a story that fits in with any number of children's cartoons – not the complex newer ones, but the fairytale types … Abudu, the story Receiving credit targets your actual teenage niece and your inner teenage niece.What she does not target is any kind of theatrical success.

Played by Zainab Balogun Ope, the central character of the film is a Chef from abroad who wants to take over the kitchen of the Titular Hotel, owned by her father, who has somehow accumulated debts and now has to sell them If you are familiar with Hollywood tropics, you may think that d he can not bring himself to tell his wife or daughter about the real state of the hotel. We are never entirely convinced of everyone's passion for this place, but we are told that it should be something special – for this strangely nuclear family.

We never experience as a Nigerian patriarch of Jide Kosoko The character's age has only one wife and one female child. There are no old family pictures, no flashbacks that reveal warm memories, only flora and color coordinated furniture.

Martin, a rude deal-maker, played by Deyemi Okanlawon turns the arm of the hotel owner (an excellent Jide Kosoko) into a sale and brings in hunky buyers Deji ( Kenneth Okolie ) to stay in the hotel for reasons that are not very clear. In no time Hunk runs into boss. As expected, there are sparks. But only just. The attraction between the two is decided PG: it is not a relationship; It's a 13-year-old affair, with mediocre clever banter, without the messy mechanisms of lovemaking. We dance, drink, date and then cut until dawn. Feel free to fill in the gaps.

Zainab Balogun lends itself well to disorder: with her sound image she is Julia Roberts for the Millennial; or a Nigerian Meg Ryan before the 1990s "Hollywood Sweetheart played 2003 on average .

And in fact the movie takes some parts from the West.The title may remind you of [19459007TheBestExoticMarigoldHotel (2011) and The Grand Budapest Hotel (2014), a scene with Martin behaving badly to the boss, might remind you of a scene with a cruel Frank Langella character and a waitress in 2001 recall Sweet November and there is the lively optimism of Hollywood comedies scattered throughout the image and its score.

Abudu and her scriptwriters seem to have recalled elements of the foreign films they have grown up and decided to mend them for their Nigerian audience, it's sophistication through copying and pasting in. The result is t unoriginal, but cute because of the sympathetic celebrity cast, Rachel Oniga plays in the best possible way an overburdened Nigerian mother. (Abudu is no further than stealing himself and has re-made Oniga in the image of Sola Sobowale 's noisy mother in the first wedding party.) There is also Kemi Akindoju as a flirtatious receptionist, it deserves to be fired, but it's as much fun as Oniga. Unfortunately, the men next to Kosoko are overwhelmed by the women for the Brotherhood. The whole package is funny, familiar and forgetful.

Royal Hibiscus is further proof that the filmmakers of Nollywood are becoming specialists in these funny, flat images, which is good for a good time in the dark, but it's a bit of a problem. Keep in mind that in this review I have increasingly referred to the producer Abudu as the director Bako as the creator, which is a distortion of the conventional version of the Auteur theory. There is a reason.

Bako has no imprint here, as well Niyi Akinmolayan was barely present in the second wedding movie. Thus, Royal Hibiscus shared with Wedding Party and Fifty more than with Road to Yesterday Bakos previous film. (Kemi Adetiba's music video aesthetics are also based on celebrities, so there was no question of the producer overshadowing the director for the first wedding movie.)

It's impossible to say what new insights into filmmaking and Nigerian life have been lost to sacrifice these young directors on the altar of Abudus felicitous, relentlessly commercial vision – but it is unlikely that she will ever be happy for someone who is looking for something more original, diverse and less lazy. Or for anyone looking for more than just laughter, color and celebrity from Nollywood.

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