KM 17

“KM 17” aims to be a psychological thriller that delves into themes of obsession, resurrection, and survival. The story revolves around a young woman named Cheeka (portrayed by Toni Tones), who embarks on a harrowing taxi ride with a psychotic driver, Dorigho (portrayed by Blossom Chukwujekwu). What could have been an intense and gripping narrative unfortunately falls flat due to numerous plot inconsistencies and implausible scenarios.

The film starts with promise, introducing Cheeka and her sister Ada, (portrayed by Theresa Edem) who find themselves ensnared in a deadly game with Dorigho. However, the plot quickly unravels into a series of unbelievable events that undermine the film’s suspense and psychological depth. 

After the first sequence, which sets up a promising premise with Cheeka discovering that she’s in the same car her sister Ada last boarded, I was intrigued. However, what follows is tired dialogue and uninspired storytelling. The lack of emotive performance from Toni Tones does little to elevate the unimaginative plot. The actors seem to be merely reading lines, delivering their dialogue with unconvincing emotions and zero nuance. The characters are tediously one-dimensional, and the plot’s single-minded focus on the interaction in Dorigho’s car, to the exclusion of all other characters, leaves no room for meaningful subplots. This results in a narrative that lacks emotional depth and fails to provide a satisfying conclusion. “KM 17” indeed lacks any substance to hold viewer engagement, making it difficult to stay invested until the end.

One glaring inconsistency is the resilience of Cheeka’s makeup. Despite being hit several times in the face by the physically imposing Dorigho, her makeup remains impeccably intact. This lack of attention to detail breaks the immersion and makes the film difficult to take seriously.

Ada’s reaction to life-threatening situations also raises questions. After narrowly escaping death with a gun to her head, she inexplicably sits on the floor, crying over a phone instead of fleeing to safety. Later, it is revealed that she had a spare phone all along, which only adds to the confusion. Her commendation of the taxi driver for hanging a Rosary in his car, despite his rudeness, further muddles the character’s intentions and motivations.

Another major shortcoming of the film is its inability to maintain a high level of suspense throughout. The premise is good, drawing viewers in with the life-or-death stakes Cheeka faces when the reality of who Dorigho might actually be comes to light. However, the film fails to excel in building tension during Cheeka’s interactions with Dorigho. Despite the promise of thrilling moments from the film’s synopsis, the plot feel repetitive, mainly focusing on Cheeka’s continuous attempts to get Dorigho to reveal himself without having a concrete plan. Additionally, the plot sometimes sacrifices deeper character development and meaningful themes to maintain its brisk pace. “KM 17″ does not deliver on its promise to offer an adrenaline-fueled experience to satisfy thriller fans.

Character development is another weak point. Dorigho, the antagonist, remains a mysterious figure throughout the film. Without a backstory or deeper insight into his motivations, his actions lack the compelling nuance seen in well-crafted villains. The audience is left in the dark about his obsession with using one life to resurrect another, which diminishes the impact of his psychotic tendencies.

Similarly, Cheeka’s mother’s death is presented in a way that fails to elicit any emotional response from the audience. The scene is uneventful and does not contribute meaningfully to the plot or character arcs. This lack of emotional engagement extends to the climactic moments of the film, where Dorigho’s sudden talk of marriage to Cheeka feels absurd and out of place.

The film feels lazily thrown together, borrowing tropes from similar movies without adding any substance. Suspending disbelief is one thing, but this movie throws logic out the window. The script lacks genuine wit, often forcing the cast to overact. Theresa Edem, experienced in portraying characters in peril, is given little to work with in “KM 17,” leaving her role devoid of depth. Viewers watch the director’s movie, not the writer’s script, which is why every writer bears the burden of the director’s imagination or lack thereof. With “KM 17,” the execution failed to meet the genre’s expectations.

“KM 17” suffers from a severe lack of plausibility and realism. In one scene, a dead character is seen blinking before their eyes are closed, a glaring continuity error that breaks the tension. Additionally, Cheeka’s interactions with law enforcement are highly unrealistic. She grabs a police officer’s hand, scolds him like a child, and throws tantrums at the police station, behavior that is implausible given her socio-economic status in the narrative.

Moreover, Cheeka’s vocal performance after enduring physical abuse is incongruous with her supposed trauma. She sounds merely stressed rather than in significant pain or distress, which detracts from the credibility of her character’s ordeal. 

The film attempts to feature a complex and chilling antagonist in Dorigho, whose obsession drives him to commit heinous acts. Unfortunately, it fails to convince or evoke fear for Cheeka at the resolution. The dialogue lacks the impact seen in films of similar genre and premise, making it difficult to believe in the characters’ performances.

Blossom Chukwujekwu’s attempt to emulate Norman Bates from “Psycho” falls woefully short. Despite the character Dorigho having a similar backstory, driven by a distorted relationship with his deceased mother and committing violent acts against women, Chukwujekwu’s portrayal lacks believability. His performance does not connect emotionally, leaving the audience unengaged and unconvinced by his portrayal of a deeply obsessed psychopath.

“KM 17″ had the potential to be a compelling psychological thriller but is ultimately undermined by its lack of coherence, character development, and attention to detail. The film’s numerous implausible scenarios and inconsistent character actions make it difficult for the audience to engage with the story or care about the characters’ fates. What should have been a haunting tale of obsession and survival ends up being a frustrating and disappointing viewing experience.