“One Too Many”: A Promising Concept Hindered by Poor Execution
Dakore Egbuson, Chimezie Imo, Omowunmi Dada, Late Rachel Oniga, Jide Kosoko, Paul Utomi, Kelechi Udegbe, Adeolu Funsho, Temilolu Fosudo, Rhoda Albert, Tope Tedela and Ikponmwosa Gold.
1hour 31minutes
Kayode Kasum
Atinuke Akinde and Joy Grant-Ekang
Ginika Ozioko, Jeanine Okafor
2022
Netflix
Great theme and performance.
Poor execution, most especially the technical aspects of the film.
One Too Many follows Adesuwa (played by Dakore Egbuson-Akande) and her family as they face multiple challenges involving law enforcement officers. When her son Otas (played by Chimeze Imo) is wrongly accused in the death of his best friend, Adesuwa grapples with the decision of whether to cling to past grievances or allow her sister Ehi (played by Omowunmi Dada), a lawyer and her boyfriend, Barrister Thomas (played by Tope Tedela) to defend her son. As she resolves to fight for both her son and herself, Adesuwa must confront her own inner turmoil and make difficult choices.
In “One Too Many,” the notion that sometimes falling short can be preferable underscores the complexity of filmmaking as an art form. While success in art hinges on connecting with audiences rather than just technical perfection, Kayode Kasum’s direction of “One Too Many” showcased promising elements for a compelling narrative but ultimately faltered in execution.
Despite its ambitious vision, the film fell short, mostly in technical aspects, leaving room for improvement in its delivery. Especially, the unfolding of the most significant moment in the story, the incident that happened between Otas, Eric, and the two police officers, which ended up veering towards being unrealistic, impacting the overall quality of the film. Additionally, many of the depicted situations lacked believability, which also hindered the audience’s full immersion in the story.
One Too Many is a story that hit so close to home, as it will resonates deeply with the viewer on a personal level and touches on themes and experiences that feel familiar and relatable, especially in Nigeria. The film explores the prevalence of police brutality in Nigeria. It highlights systemic issues within law enforcement institutions, including lack of accountability mechanisms, a culture of impunity and lack of respect for human rights and the rule of law. However, despite its emotional impact, the film is marred by a great technical flaws which affect the film’s execution and effectiveness.
The film also has a very good storyline, with twists, turns, and thematic depth that will keep the audience invested and emotionally connected throughout the film. Despite the technical flaws detracting from the overall enjoyment and impact of the movie, the ensemble cast, especially the characters of Dakore Egbuson-Akande and Chimezie Imo’s portrayal, evoke emotional responses and leave a lasting impression.
One of the merits of the film, is the sequence of events that form the backbone of the story. The series of actions, events and incidents in the film unfold in a logical order to drive the plot forward. Right from when Adesua’s father, who was a driver got shot by police for being too smart. Adesua was also raped by two police officers and years later, she’s fighting for her only son’s freedom, while the police tries hard to bury the evidence.
The film suffers greatly from a lack of attention to detail, particularly in its handling of legal terminology. The production team could have done a better job in this regard. For instance, referring to Otas as an “Appellant” when he is actually the “Defendant” is a glaring error. This inconsistency is further highlighted when even the prosecutor, Aminu, uses the incorrect term “Appellant” at one point.
Otas’ lawyer committed a significant blunder when he incorrectly stated to the judge, “I want to tender this as Exhibit B.” This mistake underscores the importance of being thorough and paying attention to details. It’s imperative for legal professionals to understand their roles properly, including the responsibility of tendering evidence before the court and allowing the court to mark it accordingly. Seeking the assistance of consultants could prevent such errors in the future. Additionally, the scene where everyone celebrated after the prosecutor withdrew the charge against Otas was unrealistic, especially when Dakore rushed to hug Chimeze at the witness stand without any formal court order to that effect.
While the court session managed to maintain engagement and realism, the dialogue, though not fantastic, was adequate. However, the pacing of the story occasionally felt sluggish. Additionally, the conspicuousness of Dakore’s long lashes during her son’s ordeal proved to be a distracting element. It’s somewhat implausible to focus on such details during challenging times. Nevertheless, “One Too Many” offers a mix of unexpected and surprising moments with sad ones that really touch your heart.
Another glaring flaw that audiences may find difficult to overlook is the implausibility of Otas’ recording capturing the scene from such an angle, particularly the police shooting from behind. There is no indication in the shots that the phone was positioned correctly at the center console in the car. Additionally, the ease with which Adesua and Ehi access Otas’s ex-girlfriend Tonia’s cloud for potentially incriminating evidence, and the immediate playback of the video upon opening her laptop, are unrealistic and contribute to the overall poor execution of the film. These flaws detract from an otherwise gripping story.
In terms of performances, Chimeze Imo truly shines, showcasing once again that he’s a rising talent in Nollywood. His acting continues to improve with time, much like fine wine aging gracefully. Imo flawlessly embodies Otas’s character, delivering nuanced performances that resonate with emotion in every crucial moment. Omowunmi Dada initially sets a strong tone with her character’s demeanor, though her emotional transitions later in the film feel somewhat anticipated. However, her overall performance remains solid. Tope Tedela delivers a consistent and commendable performance, while Funsho Adeolu occasionally veers into overacting territory.
Dakore and Chimezie delivered remarkable performances portraying a touching mother-son relationship. Dakore’s powerful monologue in the resolution resonates as the film’s standout moment, encapsulating its essence and the character’s journey, leaving audiences with profound reflections applicable to their lives. Her words, “One too many of us are hiding…,” urge viewers to embrace their stories, inspiring them to share their truths and fostering a sense of courage and solidarity.