The Niger Delta has long been a source of powerful cinematic storytelling in Nollywood, a region whose struggles with oil exploration, environmental degradation, and the fight for justice have inspired some of the industry’s most ambitious projects. Black November (2015) brought together Hollywood stars like Mickey Rourke and Kim Basinger with Nollywood talent to tell the story of a young activist fighting back against international oil corporations. However, critics noted the film was often more earnest than effective.
The same year, Oloibiri took a more grounded approach, dramatizing the discovery of Nigeria’s first oil well and its devastating impact on a small Delta village, featuring strong performances from veterans like Olu Jacobs and Richard Mofe-Damijo. Both films understood that the creeks demand respect, not just as a backdrop but as a living, breathing character in the narrative.
Toka McBaror’s The Creek arrives with similar ambitions, positioning itself as a large-scale action thriller set against the complex realities of the oil-rich region. The plot follows a man who returns to Nigeria after 25 years away, only to be kidnapped along the Niger Delta creek, forcing a community to confront difficult choices between loyalty, survival, and justice.
The film had the right ingredients for an engaging and important Nollywood film, including a solid cast and a multinational crew of over 550 members, with distribution handled by Blue Pictures. But while the ambition was clear on paper, the final result struggles to stay afloat, failing to leave a lasting mark on the action genre it aims to revitalize.
The film gets one thing absolutely right: the location. The Niger Delta water is a sight to behold. The vast, winding creeks, the dense mangroves, and the endless horizon are captured in moments of genuine beauty that remind you why this region matters.
The decision to film on location in Port Harcourt and the surrounding waterways is not just commendable; it is essential for a story rooted in this land. That commitment alone deserves praise. According to production notes, the film was shot in real Niger Delta communities, and the production even cast real-life former militants from the region to provide an extra layer of gritty authenticity.
However, the film’s visual identity is frustratingly inconsistent. For much of the runtime, the picture is unclear, almost murky, to the point where I questioned if this was a deliberate stylistic choice meant to mirror the murky world of the creeks. If it were, the effect would fail, creating a frustrating distance between the audience and the action.
The cinematography, described in pre-release materials as “striking” and “intense,” often feels muddy and indistinct. Key action beats are lost in a haze of poor framing, and the editing struggles to maintain spatial coherence during chase sequences and gunfights.
The performances offer some relief. Bucci Franklin, who plays a central role, is one hell of an actor. He brings a dangerous, unpredictable energy to every scene, making his presence felt throughout.
The use of the Niger Delta tongue throughout the film is another welcome touch. Hearing characters switch between English and their native dialect adds a layer of authenticity that many Nollywood productions set in the region ignore. It grounds the story in a specific culture and makes the world feel lived in.
The film also features a strong ensemble, including Sunshine Rosman, Sam Dede, Kelechi Udegbe, Chinwe Owoh, and the ever-reliable Charles Inojie. However, I had high expectations for Jimmy Jean-Louis, especially after his role in The Fire and the Moth. His international pedigree and striking screen presence could have elevated the material, but his character here is underwhelming, and his potential is largely untapped. He feels underutilized, given very little to do beyond reacting to the plot rather than driving it.
Then there is the casting of the journalist and her brother. Sunshine Rosman plays the journalist, and her on-screen brother, Shine Shine, is played by Kelechi Udegbe, who is her real-life brother. This familiar bond brings genuine chemistry to their scenes. When Shine Shine goes to save his sister, you feel the weight of his desperation and love. That connection works.
The problem is not the bond but the script’s treatment of the journalist. She suffers from a baffling moment of narrative illogic that undermines her entire character. How can a reporter covering the creeks not recognize that Fish Bone is the sworn arch-enemy of her own brother? It is a basic piece of world-building that is ignored for plot convenience, and it destroys her credibility as a sharp, knowledgeable journalist.
You would think someone covering a conflict zone would know the key players, especially when those players are directly connected to her family. It is a lapse that feels lazy and rushed, as if the screenwriter assumed the audience wouldn’t notice.
Unfortunately, The Creek does not advance Nollywood’s action genre. The gunfights lack tension, the chases lack thrill, and the hand-to-hand combat is poorly choreographed; the action sequences feel flat and uninspired.
The sound design is also overwhelming, with music and ambient noise often drowning out dialogue. In a film that relies on quiet moments of dread, the audio mix becomes a liability rather than a tool for building suspense.
After films like Black November and Oloibiri showed what is possible, even with their own flaws, it is disappointing to see a production with so much potential fall so short. The location work and Bucci Franklin’s performance are bright spots, but the unclear visuals, weak action, and narrative lapses leave the film stranded in its own creeks.
Release Date: March 27, 2026
Runtime: Approximately 2 hours
Streaming Services: None, Cinema release
Directed by: Toka McBaror
Cast: Bucci Franklin, Sunshine Rosman, Sistine Rosman, Jimmy Jean-Louis, Sam Dede, Kelechi Udegbe, Chinwe Owoh, Charles Inojie