One may be tempted to assess Brotherhood merely on the strength of its action scenes. Indeed, Loukman Ali's movie provides several bank robberies, chases, shootouts, and enough explosive set pieces to compete with much bigger-budget productions in the genre. Yet there is more than meets the eye in Brotherhood. There is a tragic story about two brothers brought up similarly but going down completely different paths.
The emotional conflict in Brotherhood forms the basis for the film beyond its action sequences. The relationship between Wale and Akin never seems artificial. On the contrary, the interaction between the brothers is used as an instrument with which the filmmaker explores themes of justice, loyalty and the price of personal decisions. Although the plot turns out to be typical for a crime thriller movie, the connection between the brothers makes it unique.
Loukman Ali directs Brotherhood with skill, demonstrating his knowledge of how to create tension in his film and keep it understandable. In addition, the action scenes in Brotherhood are the best-made action scenes in a Nigerian movie, preferring practical choreography and consistent editing to fast cuts, which are meant to hide flaws.
As for the visual aspect, it is as good as the directing style in the film. The cinematography is able to give the movie a modern look without being stylized, and the production design successfully depicts the criminal underworld that exists in modern-day Lagos. The film does not stop to appreciate itself in aesthetic terms and concentrates on storytelling.
The cast is mostly successful in its work. First of all, Tobi Bakre gives a performance that is able to combine charisma and vulnerability, thus creating a convincing image of the protagonist. Second, Falz shows himself to be a restrained actor, although his character could be one-dimensional. In addition, OC Ukeje, Toni Tones, and Sam Dede, as part of the supporting cast, make the world of the film appear authentic.
The screenplay is particularly good when the moral conflict of the heroes of the film is explored. Instead of offering a stereotypical image of the crime, the writer shows how such aspects as desperation, grief, and circumstances can change the idea of right and wrong for a person. The film refuses to make its characters heroes and villains because it recognizes the existence of many grey zones of morality.
However, Brotherhood still has some weak points. First of all, there are some supporting characters who leave the plot too soon, leaving no significant impression. Second, there are some plot twists that depend too much on coincidence and do not develop in time. Third, the third act of the movie follows genre traditions too eagerly, sometimes neglecting emotional truth. Nevertheless, it does not spoil the film and cannot compete with the best works in the genre.
At the same time, there are moments when the ambition of Brotherhood exceeds its willingness to take it slowly. Some emotional moments are shown too briefly because the plot goes on to the next action scene too fast. Thus, a few calmer scenes, which would allow the heroes to think about their decisions, would add more emotional weight to the plot of the film.
Despite these shortcomings, Brotherhood is successful because it knows that the action is interesting only when the audience cares about the characters involved in it. Thus, Loukman Ali never forgets about this formula. As a result, it is a movie that both entertains and adds emotional weight, demonstrating how far action cinema in Nigeria has come in terms of technique.
Although Brotherhood does not innovate the genre of the crime thriller, it successfully executes its familiar concepts with skill, style, and emotional conviction. Brotherhood can be called one of the strongest action movies in the history of Nollywood.