My Review of The Waiter.
If Nollywood has taught us anything, it’s that we’re not just here for the stories—we’re here for the sheer audacity of it all. The Waiter, Ayo Makun’s latest attempt to blend comedy and action, feels like an extended inside joke where the punchline is “Warri!” and everyone’s just debating if it’s hilarious or heartbreakingly absurd. You’d think after the Merry Men franchise graciously exited stage left, AY would come back with something fresh. Instead, we’re served a chaotic buffet of plot holes, characters who seem like accidental extras, and unresolved storylines hanging in the air like forgotten harmattan clothes on a line.
Let’s break this down before emotions carry us away. Enter Akpos (who else but AY himself?), a fearless Warri waiter-slash-action-hero somehow caught up in a terrorist saga at a posh hotel. The terrorists, led by Tonye Bright (Bucci Franklin), storm the venue demanding a modest cough 300 billion naira—funds apparently siphoned from the national budget meant for poverty alleviation. The Robin Hood energy is real… until Nollywood does what it does best and makes even that look suspicious.
From the jump, the film feels like two separate movies awkwardly duct-taped together. Tonye’s intro as an army captain ambushed in a gripping action scene shows promise, but before you can appreciate it, we’re whisked to Akpos, who’s busy beating up one-chance armed robbers in a fight sequence that screams, “Fast & Furious presents: Warri Drift.” He defeats the baddies, a car explodes (because why not?), and Akpos strolls into work like he didn’t just survive a Michael Bay audition. By now, you’re either strapping in for this absurd ride or actively texting, “Omo, this movie no balance.”
Here’s where things get murky. A comedy-thriller typically pits an unsuspecting hero against a formidable villain, right? Wrong. In The Waiter, Akpos and Tonye might as well exist on different planets. Their interactions are so insignificant that you could erase Akpos entirely, and Tonye’s Robin Hood-inspired escapades would remain unbothered. Tonye’s motives—shaky but present—at least attempt depth. Akpos, however, is just out here screaming “Warri no dey carry last!” while uppercutting nameless henchmen. He’s like the friend who turns every group hangout into a wrestling match: amusing at first, but soon exhausting.
The supporting cast doesn’t fare much better. Deyemi Okanlawon’s Femi, the hotel’s head of security, seems more lost than Lagos traffic at rush hour, roaming aimlessly instead of—oh, I don’t know—reviewing surveillance footage? Kunle Remi, on the other hand, is the unexpected MVP, delivering comedy gold in a performance that makes you wonder why the film didn’t just lean fully into satire. Bucci Franklin gives his all as Tonye, crafting a cold and calculated antagonist. But the script, as generous as Nigerian politicians during campaign season, abandons him midway, leaving his character to navigate the chaos alone.
And then there’s the plot—or rather, the chaotic mashup of subplots. Akpos’ inexplicable superhero antics, Tonye’s questionable terrorism motives, random celebrity cameos (yes, Dino Melaye and Nasboi are in here), and romance scenes that feel lifted from Titanic all collide in a haphazard mix that’s more confusing than a Danfo conductor giving change. It’s as though the director, Toka McBaror, wanted to make every genre in one film but ended up succeeding at none. The action scenes lack purpose, the comedy misses more than it hits, and the unresolved storylines leave you wondering if the production ran out of fuel—or just vibes.
And oh, the ending. If you’re expecting closure, forget it. Questions abound: Why does Akpos never really face off against Tonye? Why are some characters in romantic bliss while chaos reigns? And most importantly, was this film more interested in celebrity cameos than storytelling?
To be fair, The Waiter isn’t all bad. Tonye’s introduction hints at a thrilling possibility, and Kunle Remi is an absolute riot—proof Nollywood comedy still has gems. But these rare highlights are buried under the film’s indecision. Is it about Akpos or Tonye? Comedy or thriller? Even the title is misleading. The Waiter? Nah, this should’ve been called The Cameo Chronicles or Explosion Unlimited.
If you’re in search of logic or depth, The Waiter will leave you stranded like a Lagosian in Lekki floodwaters. But if you’re here for cars exploding for no reason, Warri boys defying Newton’s laws, and terrorists delivering TED Talk-worthy monologues, grab your popcorn. Just don’t expect to leave with anything but confusion and memes.
Side Musings
– Let’s be honest, this could’ve been titled The Terrorist and no one would blink.
– Does Akpos think CCTV cameras are allergic to him? Man’s out here wrestling people like he’s auditioning for WrestleMania.
– Kunle Remi, sir, we need you in a sitcom ASAP. Don’t deny us this joy.
– Regina Daniels’ cameo was cute, but AY better hope Ned Nwoko doesn’t “address the nation.”
– Tonye Bright: A Robin Hood we neither wanted nor deserved, but hey, at least he tried.
Final thoughts? The Waiter is the Nollywood cocktail you didn’t ask for—part action, part comedy, part “what in the world is this?” Sip at your own risk.
Rating: 2/5
Is the critic a Nigerian?
Yes