The reviews are unanimous and the spread is narrow: every critic reads Akinola Davies Jr’s debut as a strong one, with scores clustering in the eighties and only a couple straying higher. The praise settles in three places. First, Ṣọpẹ́ Dìrísù as the absent father, described as tender, nuanced and mythic in roughly equal measure. Second, the casting of real-life brothers as the two boys, which several critics say gives the sibling scenes an ease that could not have been directed into them. Third, Lagos in 1993: most reviews dwell on how the film puts the city’s noise, heat and menace through a child’s eyes, with the sound design and cinematography singled out more than once.
Reservations are scarce. The Hollywood Reporter finds the storytelling patchy in places, and one or two critics call the film elusive, but nobody treats that as a serious fault. Real dissent has not yet arrived.
