Tòkunbò’s Son’s Death Significantly Alters the Narrative
By the time the story reaches its third act, Tòkunbò has unexpectedly developed a bond with Nike, the young daughter of politician Folashade. Unbeknownst to him, his own family’s tragic circumstances—particularly the death of his son—have profoundly impacted the storyline. Initially, Tòkunbò attempts to use the kidnapped child as part of a deceptive plan orchestrated by Raymond and Aziba, who had betrayed the politician. His efforts are further complicated by the fact that Nigerian authorities had sealed the borders in a desperate attempt to locate the missing girl. Meanwhile, Tòkunbò receives devastating news from his partner Lisa: his son has died. This revelation renders his mission seemingly pointless, and in a moment of despair, he loses control, veering his vehicle over a bridge and plunging into the river while police are in pursuit. Despite the chaos, both Tòkunbò and Nike survive, although the police fail to recover them from the water in time. It is later revealed that Gaza, a notorious criminal lord, was behind the kidnapping, acting on behalf of Raymond, the deputy bank governor. To protect Nike, Tòkunbò entrusts her to Iya Muli, while grappling with the realization that Gaza’s involvement was a deception. Tòkunbò had no intention of working for Gaza, knowing full well that his reputation and previous associations would have made such collaboration lethal. The shocking truth is that he was duped into engaging with Gaza’s operations, and had he known Gaza’s true role, he would have refused to participate.
The Pointless Final Confrontation
The climax features Gaza’s fury at Tòkunbò for failing to deliver Nike. The scene defies logic: Gaza claims his mission was straightforward, yet he is traversing a city locked down by military and police forces, with borders sealed and heightened security everywhere. Gaza’s relentless interrogation and waterboarding of Tòkunbò aim to extract Nike’s whereabouts, but he remains silent. Unfortunately, Gaza’s men capture Nike and Iya Muli, rendering Tòkunbò seemingly powerless. In a surprising turn, Gaza chooses to inflict self-harm by killing himself, an act that leaves viewers questioning his motives. In a misguided attempt at defiance, Tòkunbò challenges Gaza to a duel—an unnecessary and poorly choreographed fight that stretches on for five minutes. The scene is marred by uneven fight choreography, amateurish execution, and a lack of real tension. Gaza treats Tòkunbò like a mere toy, and despite the fight, Tòkunbò cannot choke Gaza to death, even after tightening his grip. It is Iya Muli who must shoot Gaza to end his torment, which feels like an arbitrary conclusion. By this point, it is clear that Raymond and Aziba’s involvement in the kidnapping has been unveiled. Their motivations appear rooted in opposition to Folashade’s progressive financial policies, and their romantic connection further complicates matters. Raymond’s ties to the central bank reveal a motive driven by greed and power.
Why the Ending Lacks Coherence and Depth
The final scenes involving Tòkunbò are particularly perplexing. He assumes the role of Folashade’s driver and bodyguard, engaging in a seemingly cordial conversation with the police, who then dismiss all charges, resulting in his release on bond. The justification for this is unclear—perhaps Folashade and Nike recognize his potential or perhaps his actions are excused due to some unwritten understanding. Nonetheless, this is problematic because Tòkunbò had previously abducted Nike and put her in danger. His involvement was a serious felony, yet the film suggests a sudden redemption that feels unearned. The conclusion implies that he becomes Nike and Folashade’s personal bodyguard, yet his physical capabilities and fighting skills are minimal—highlighted by the lackluster final fight scene. It’s confusing how he transitions from a kidnapper to protector without any substantial development or demonstration of competence. Additionally, Tòkunbò shows no genuine grief over his son’s death, which seems inconsistent with his character. His initial indifference at birth appears to linger, and his emotional detachment throughout the ending only adds to the sense that the narrative is disjointed. Overall, the ending devolves into chaos and incoherence, reinforcing the perception that Tòkunbò is not a well-crafted or compelling film, but rather a series of disconnected scenes and poor storytelling choices.