Movie review: Aburo is a film with potential but marred by disjointed subplots

Directed by Yemi Filmboy Morafa, Aburo attempts to weave a poignant story of mentorship, redemption, aspiration and complex relationships. It’s about a former sportsman, Mide, seeking to divert a young street thief named Aburo (Maleek Sanni) from petty crime to the discipline of athletics.

On what I think about the movie, I’ll start with the romantic subplot between Mide (Efa Iwara) and Edak (Toni Tones). I thought I found it particularly underwhelming. Intended to charm with clever banter and emotional depth, the relationship instead feels superficial and predictable. The interactions, characterized by clichéd dialogue and sudden escalations in conflict, fail to establish a convincing emotional connection between the characters, further hampered by a noticeable lack of chemistry between the actors.

Though I liked the idea of a washed-up athlete trying to direct a young chap on the right path, however, I found it quite distracting when the movie progressed into a pack of subplots which included the lukewarm romance talked about above. The other subplots are familial strife, sporting rivalry, and underworld dealings, all of which should have received considerable attention. The absence of that leaves the movie with no narrative coherence.

Among the film’s redeeming qualities is the depiction of the bond between Aburo and his sister, which offers moments of genuine emotional resonance. Portrayed by Maleek Sanni and Darasimi Nadi, the siblings bring a heartfelt sincerity to their roles that stands out against the backdrop of less compelling storylines. The family tension, particularly with their aunt played by Wumi Toriola, provides a richer subplot that explores the cultural and personal repercussions of Aburo’s actions.

However, the film forces its characters into unrealistic decisions to propel its plot. Faced with his sister’s illness, Aburo inexplicably eschews potential help from his affluent mentor and a medical professional, choosing instead to engage in low-paying labour. This plot direction not only strains credulity but also overlooks more plausible scenarios that could leverage the existing skills and circumstances of the characters involved.

On the technical front, Aburo is marred by various production issues. Echoed audio, inconsistent transitions between scenes, and poorly integrated advertisements detract significantly from the cinematic experience. Errors in subtitles and the overall production quality reflect a need for more rigorous attention to detail in future projects.

Performance-wise, the film presents a mixed bag. While the younger actors deliver promising performances, the main adult cast appears constrained by the limitations of the script and direction. Wumi Toriola’s portrayal is a notable exception, providing a grounded and impactful presence that suggests a more effective use of her talents in future roles.

In conclusion, Aburo sets out to be a story of transformation and second chances but ultimately falls short due to its overambitious narrative and execution flaws. The film, dotted with moments of potential, fails to deliver a cohesive or compelling viewing experience, leaving audiences with a sense of what might have been rather than what is. The film struggles to get a 5/10 from me because I believe more should have been done to put the story where it ought to be.