NseIkpe-Etim is one of those thespians, whose skills coax one to see projects in which she features, and when you combine that with the fact that the Stalker also stars Jim Iyke though his role in his last major outing, Last Flight to Abuja (2012), was not very memorable, then many true fans of Nollywood will seize the opportunity to see Stalker. However, the result is a little disappointing.

Moses Inwang (Torn, Itoro’s Tears, Damage, The Last Three Digits) is the director of Stalker. He also co-wrote the screenplay with Patrick Nnamani. The story of Stalker, in some sense, resembles that of Torn, which is perhaps Inwang’s best film yet. In both films, a woman who has a mental disorder believes she is in love with a man who belongs to another lady.

Kayla Lawal (Nse) is rescued from bandits by Michael (Jim Iyke), but after that night, he continues to appear wherever she goes or so it seems, making Kayla fear for her safety. The irony in the story, which reveals the real stalker is fascinating, but the producers depend on contrived situations and mundane dialogue, which in turn make the film uninteresting.

The District Police Officer (Ay Makun) tells Kayla, “Ever since your parents passed, it’s been my sole responsibility to take care of you and your sister.” Those facts could have been exposed more visually than through that very obvious manner, which tells the viewer that the filmmaker wants to give them information. Besides, Kayla is a grown woman who can take care of herself.

Shawn offers to give Michael’s number to Kayla; the same Michael that, according to her, not only takes her home every day, but also lives on the same street! In spite of that kind of closeness, she inexplicably does not have Michael’s number. Did she lose her phone?

Michael says he spent that night in jail but did he mean to say a police cell? Does pepper not enter Dickson’s (Tony Monjaro’s) eyes when Kayla throws food in his face? His reaction never shows that. In addition, the scene of the fight between Kayla and Ella (Carol Danjuma) is also comical.

Michael must be the only man in the universe. Well, that is how it appears in the film, especially in a situation where a woman fights another over the latter’s beau. That conflict also reminds men and women alike that no one deserves to be another’s Plan B. If you do not love that person, leave him or her for someone else who does. It is indeed wrong to manipulate people or treat them as pawns for selfish reasons.

When Michael responds to Kayla saying, “It’s not my kind of phone”, one wonders if he would have kept it if it was his type of phone. That statement questions the young man’s integrity.

Michael spells his name as Micheal on Facebook. Producers need to give Omawumi roles that will unveil her acting skills; the roles she has so far played are unsatisfactory.

Inwang should learn to stick to his core competence; screenwriting is certainly not his strength, though he did justice to Torn, a remarkable flick. Be that as it may, he may have ideas, but should develop his screenplays with other writers, after all with screenwriting, too many cooks do not necessarily spoil the broth.

In all, the Stalker is run-of-the-mill, owing to its rather absurd storytelling.

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