As Nigerian cinema enters a new chapter of daring storytelling and global ambition, two crime thrillers have emerged in 2025 as cultural lightning rods. Hakeem: Seeking Justice (HSJ), a homegrown theatrical release directed by Abdul Bello (JJC Skillz), and To Kill a Monkey (TKAM), Netflix Africa’s cybercrime epic helmed by Kemi Adetiba, are igniting conversation. While one arrives with the force of global streaming behind it, the other fights its way into the spotlight through grit, vision, and emotional resonance. In this David versus Goliath scenario, it is not hard to see why audiences and critics are beginning to root for the underdog.
At its core, HSJ offers a tightly woven revenge narrative rooted in real societal injustice. It follows Hakeem, an ex-military officer whose life is shattered when his family is murdered. What begins as a personal vendetta unfolds into a broader interrogation of systemic corruption and emotional trauma. Critics and early audiences have praised HSJ not just for its high-octane action but for its emotional authenticity and moral urgency. In contrast, TKAM presents a moody, visually competent cybercrime drama with strong performances. However, reviewers point out its familiar storyline, slow pacing, and overbearing soundtrack, particularly in its overly long pilot. While TKAM is ambitious in scale, HSJ strikes deeper by delivering more emotional weight.
Deyemi Okanlawon’s performance in HSJ elevates the film into something unforgettable. As Hakeem, he embodies both physical intensity and emotional vulnerability, having undergone rigorous combat, stunt driving, and weapons training to prepare for the role. His transformation is complete, offering what may be his most compelling performance to date. Meanwhile, Bucci Franklin brings undeniable charisma to his role as Oboz in TKAM. He commands attention in every scene, but critics note that the script leans too heavily on his presence to compensate for structural weaknesses. While Franklin delivers flair, Deyemi gives us something more: a fully realised character grounded in pain, strength, and humanity.
Directorially, HSJ benefits from Abdul Bello’s singular creative control. As writer, director, and producer, he crafts a cinematic experience that blends stylized energy with grounded Nigerian realism. The result is a film that feels intentional in every scene. On the other hand, TKAM, directed by Kemi Adetiba, builds on the success of her previous blockbusters. But this time, the execution feels cautious. Critics cite heavy exposition, reliance on genre tropes, and bloated scoring. HSJ may not have the same level of industry backing, but it succeeds in delivering a more cohesive and disciplined piece of storytelling.
The ensemble casts further differentiate these two projects. HSJ features a powerhouse lineup including Chioma Chukwuka, Gabriel Afolayan, Zubby Michael, Bolanle Ninalowo, Regina Daniels, Liquorose, Ali Nuhu, Skales, and Whitemoney. Each performance contributes meaningfully to the plot, with no weak links in the lineup. TKAM also assembles strong talent, including William Benson, Stella Damasus, and Bucci Franklin, but several characters feel underdeveloped. Critics mention cliché dialogue and scenes that pad out the runtime without driving the story forward.
In terms of distribution, TKAM enjoys the full power of Netflix. It premiered globally on July 18 and quickly climbed into the platform’s top ten. Its visibility was immediate and far-reaching. HSJ, in contrast, was released theatrically across Nigeria on August 1 through FilmOne. Despite its production scale and genre innovation, it has not been picked up by major streaming platforms. This raises larger questions about how access and opportunity are controlled in the African streaming space. Why do platform-funded mediocrities get greenlit while risk-taking, high-impact projects like HSJ are passed over?
Marketing strategies also diverge. HSJ built grassroots momentum through trailers, music, social media campaigns, and early critical endorsements. Influencers and viewers have hailed it as a significant theatrical moment. TKAM enjoyed the might of Netflix’s global marketing apparatus, including banners, homepage features, and media rollouts. This exposure helped TKAM dominate the conversation initially, but it is HSJ that is building word-of-mouth buzz from the ground up.
What makes Hakeem: Seeking Justice substantial is not just its quality, but what it represents. It is a rare Nollywood action film that centres on Nigerian experiences without imitation. It is a project built with passion and risk, not guaranteed funding or distribution. It invites audiences back to the cinema, not just to be entertained, but to reflect and connect. It also challenges the prevailing idea that validation must come from platforms. This is a story that demanded to be told and was told well.
If To Kill a Monkey is the industry’s Goliath, then Hakeem: Seeking Justice is the people’s David. Both are worth watching. One benefits from infrastructure, the other from the heart. Together, they present two paths forward for Nollywood. The question is, which path are we willing to support?
Watching HSJ in cinemas is not just a movie outing; it is a statement. It says that vision, talent, and authenticity deserve to thrive regardless of platform politics. See both. Talk about both. Then ask yourself: which one made you feel more? Which one made you think harder about justice, identity, and what Nollywood can become?
