Merry Men: The First Yoruba Evil presences guaranteed giggling and activity, as an activity satire, yet it gave a not exactly normal conveyance on the two commitments. In a bid to leave from the huge spending plan droll flicks Ayo "AY" Makun is known for, the film forfeited the chuckling, and there was just tiny activity that might have been managed without, or improved.
The chuckling was rare, the activity was constrained, and the film left you needing more, not positively. Sex was much of the time obvious and now and again superfluous in certain scenes. It seemed like a filler to guarantee the film stirs things up around town two hour mark.
The film plot is worked around the narrative of a rich and favored, current Robin Hood and his men, who use data, got through unlawful means, and their associations, to burglarize the political first class, cheat them, and probably give them to poor people.
I neglected to see them really give anything to poor people, or set up anything that helped poor people - the visit and salvage of the young fellow being a somewhat faltering endeavor. To appropriately grandstand these men really helping the poor might have required further reasoning with respect to the scholars, yet we saw none of it, putting a mark to the picture of the gathering as big-hearted cheats.
There are a couple of things the film had making it work, including lovely landscape and astonishing tones. We got beautiful perspectives on Abuja. The very much spread out streets that were sufficient for Ayo and Dera to race on, a race that was preferably short and ailing in adrenaline over was normal. It was anyway reviving to see a feature of an alternate area separated from Lagos.
It was good to see Ayo Makun in an alternate job, not his standard his uproarious mouthed, beyond ridiculous hero, with a Waffy legacy. He left the middle stage for Ramsey Nouah, a veteran who never neglects to give a heavenly presentation. Here, Ramsey is pigeonholed as the considerate, attractive, liberal and rich, heart breaker kingpin.
Folarin "Falz" Falana, as Remi Martins, with regards to his online entertainment persona, is the syntactically tested nerd, and I should say his jokes were normal and drew chuckling. Be that as it may, at times, his comedic intervals failed. It was clever to see Otunba turn the table on the Joyful Men when they attempted to utilize a sex tape to extort him. He advised them to return and learn better.
Notwithstanding, a portion of the characters were pointless to the general story. This isn't anything against the entertainers' abilities, however a portion of the characters didn't add anything to the story.
For instance, it was not precisely clear what Jim Iyke's job as Naz Okigbo was in the film. He was an individual from the group, yet what did he offer of real value? Ramsey, as Ayo, was the unmistakable pioneer. AY, as Amaju, was the companion who involved his admittance to influential ladies to extricate data for the group. Falz was the nerd who hacked frameworks to get to delicate data for the group. The main side we saw to Naz was that he could cook and that he was infatuated with Ayo's sister.
The plot of the film resembled a bushel that spilled all over and there were not really any firm associations in the narratives. The association with Garki was too free and left an excessive number of inquiries unanswered. It was by all accounts a ploy to keep the watchers in tension, however the anticipation was not settled in the film. We were immediately continued on toward different pieces of Abuja.
Additionally, there were not really any histories to the lead characters. Ayo portrayed a portion of his, as a long lasting fight with a dad he cherishes profoundly. What was Amaju's story? How could he turn into this individual? For what reason is Remi Martins a programmer and how could he be selected into the group?
Such histories are supposed to make characters interesting, yet all we saw were four men swindling others. There are such countless unanswered inquiries in Happy Men, and these are not the sort questions that extraordinary spine chillers leave you with, yet the sort that befuddle you and leave you thinking about what the plot truly is.
The projecting of this film passed on a ton to be wanted. It brags of a few the best entertainers Nollywood brings to the table, however the jobs they had didn't utilize their abilities. Ali Nuhu was charged as one of the stars, however he scarcely figured out how to show up in two scenes. As the head of showcasing in the bank, he could too have been an appearance.
At the scene where the specialists planned to capture Ayo, why bother with the shootout? Was it important to the story? The Joyful Men had not shown any savagery. Capturing Ayo in such a way detracted from the generally powerless plot of the film.
What did Woman report that made the specialists pursue them? For what reason would she say she was captured? Who explored her wrongdoings? Toward the start of the film, we saw the specialists watching them, yet past the location of the police leader reviling them, we saw no appropriate examination. Then, at that point, they were all free, why? How did Naz get away? Why they are free at this point?
The memorial service scene was an endeavor to lose us, to make us think his sister kicked the bucket. It was pointless to have them all don dark, as though they were grieving a youngster. We as a whole realize Yorùbá individuals are very much celebrated in death whenever they have crossed the 55th year point; they are not grieved in the way depicted in Joyful Men.
True to form of Nollywood enormous spending plan films, Happy Men had its own wedding scene. We love our festivals, yet the proposition scene at the wedding was flinch commendable, both in idea and execution. Public recommendations are the in-thing, helped by online entertainment. Be that as it may, for a sibling to take the roar at his sister's wedding was inappropriate.
It had an extraordinary cast that might have been given a superior story. We have seen these equivalent entertainers in other Nollywood titles that made them extol toward the finish of the film.