Action films have always been a tricky bet in Nollywood. Budgets were small, choreography stiff, and special effects obvious. The shift began in 2022 with Brotherhood, which pulled in over ₦442 million, proving audiences would show up. Gangs of Lagos in 2023 further showed Nollywood’s potential with proper backing. Son of the Soil now asks whether the industry can consistently deliver global-scale action.
About twenty minutes in, there’s a moment that stops you cold. Zion Ladejo, played by Razaaq Adoti, walks out of a Lagos hospital in a backless gown, bruised and battered. Crowds pass by without helping because Lagos doesn’t stop for anyone. It’s the strongest moment in a film that struggles to maintain that intensity.
The film landed on Netflix across Africa on March 1, 2026, after a festival run with wins at AFRIFF and the Black Star International Film Festival. Directed by Chee Keong Cheung and written by Adoti, it clearly aims high. This is Nollywood trying to build its own John Wick, staking a claim in the global action market.
The plot is familiar. Zion, a former Special Ops soldier living in America, receives a voicemail from his sister, Ronke. By the time he reaches Lagos, she’s dead, murdered after witnessing a drug kingpin’s crime. The police are indifferent, corruption runs deep, and Zion takes matters into his own hands. Revenge thriller fans will know what comes next.
Action sequences deliver more than expected. Cheung brings discipline to the fight scenes; punches land with weight, knives cut close, and blood flows convincingly. Cinematography captures Lagos in ways Nollywood rarely does. Shot over sixteen days, the city breathes and sweats. A chase scene through a market puts viewers in the chaos.
Supporting performances help stabilize the film. Taye Arimoro as Shaka Bulla is terrifyingly unpredictable. Damilola Ogunsi’s Jagunlabi has quiet intensity. Patience Ozokwor and Ireti Doyle remind audiences why they are legends. Ijelu Folajimi’s Remi repeatedly outsmarts Zion, acting as his moral compass.
Yet the film falters in crucial areas. Zion, a trained soldier, repeatedly acts without a plan or backup. His mother is never moved to safety, and he is outsmarted by children and street kids. Adoti commits physically, but his portrayal of a Nigerian raised abroad sometimes rings hollow. Cultural quirks are uneven and cannot substitute for authenticity.
The script relies heavily on coincidence. The little girl finds Ronke’s phone, appears at the hospital, and hands it to Zion at just the right moment. Villains make inexplicable choices, and Ronke remains underdeveloped. Flashbacks provide fragments of her life, but her loss never hits emotionally.
Villains feel shallow. Dr. Baptiste, a doctor running a drug ring, is evil because the script needs him to be. Shaka Bulla is memorable but lacks motivation. Compared to Gangs of Lagos or Brotherhood, this film feels rushed. Those films understood that action needs heart; Son of the Soil delivers moves but not feeling.
Still, the film matters. It shows Nollywood can handle choreography, stunts, and cinematography at a higher level. Lagos emerges as a living, breathing character. The hospital gown moment exemplifies bravery and commitment. The film hints at what the industry can achieve if it balances spectacle with emotional depth.
Son of the Soil proves Nollywood is still learning, still reaching, and occasionally stumbling toward greatness. Swing hard, trust the audience, and next time, let us feel something real. Streaming now on Netflix, it’s worth watching for what it achieves, even if the landing isn’t perfect.
Release Date: March 1, 2026
Runtime: 112 minutes
Streaming Service: Netflix
Directed by: Chee Keong Cheung
Cast: Razaaq Adoti, Taye Arimoro, Sharon Rotimi, Philip Asaya, Damilola Ogunsi, Ijelu Folajimi, Patience Ozokwor, Ireti Doyle