“Devil Is A Liar” Is Predictably Bland

Despite its promising premise, The Devil Is a Liar fails to bring anything fresh to Nollywood’s familiar “rich wife and cheating husband” narrative.

Nothing prepares viewers for the questions Moses Inwang’s The Devil Is a Liar leaves them with rather than the answers. From its predictable title to its star-studded cast, expectations were high—but at what cost?

Written by Tunde Babalola, the film stars Nse Ikpe-Etim as Adaora, an established realtor and the eldest of three sisters. Her younger sisters, conservative Beatrice (Padita Agu) and spoiled Cheta (Nancy Isime), create a typical Nigerian Igbo family dynamic, where societal pressure, especially from a stepmother and aunts, pushes Adaora to marry before turning 40. Beatrice is married, Cheta is preparing for her introduction, and Adaora struggles with the ticking clock of expectations.

Enter Jaiye (James Gardiner), Cheta’s supposed stylist. One thing leads to another, and he sweeps Adaora off her feet despite the eight-year age gap. Their whirlwind romance quickly leads to marriage and a series of dramatic events: infidelity, deceit, an unexplained hysterectomy, a jail term, and a looming threat of double jeopardy.

The Devil Is a Liar is Hedge Production’s second feature following their debut The Therapist on Prime Video. The film reunites Ikpe-Etim, Caroline Dajuma, and Inwang after Stalker (2016), but ultimately reinforces how star-studded Nollywood films often fail to deliver on their potential.

The opening sequence features Adaora code-switching between Igbo and English as she reminisces about her late mother. The attempt at Igbo authenticity feels awkward and forced, disrupting the natural rhythm of the storytelling and taking viewers out of the scene.

Inwang, known for hits like Alter Ego, Merry Men 2, and Blood Vessels, has long excelled at exploring societal pressures. On this project, however, his direction feels overextended. Numerous unnecessary scenes drag the film’s pacing, making it feel artificially long. Despite being a seasoned filmmaker with over two decades of experience, Inwang’s narrative judgment here isn’t at its sharpest.

Where the film succeeds is in cinematography and production design. The shots are clean and visually appealing, with colors that contrast well and create striking compositions. The movie also shines in its exploration of the nuances surrounding unmarried older women in African communities, depicting their desperation and the societal pressures they endure with honesty.

Music and sound design are other strong points. From melodious Igbo lyrics in the opening scene to subtle background tunes and suspenseful beats, the soundtrack enhances the storytelling. The inclusion of Edo singers and dancers in the park further elevates the cultural feel and reminds viewers of music’s role as a shared heritage.

As the lead, Nse Ikpe-Etim delivers a solid performance, giving depth to Adaora’s struggles. Unfortunately, the supporting cast is uneven. Tayo Faniran, for instance, appears stiff and expressionless during pivotal moments, undermining the tension the story needs.

Some plot points are implausible. When a furious Adaora discovers Jaiye is still alive, she lures him to an abandoned bar and engages in a lengthy conversation instead of taking swift action—an unnecessarily drawn-out scene. Similarly, Mercy Aigbe’s character kidnapping of Jaiye’s children raises questions about logistics and believability. Even minor plot devices, like a recorded sex tape, are introduced but underdeveloped, missing opportunities to deepen the story.

Many scenes fail to add meaningful weight, leaving the narrative feeling padded. Moments where viewers would expect decisive action from Adaora are instead slowed by clumsy or inconsistent character behavior, making the film feel frustratingly predictable.

Ultimately, The Devil Is a Liar doesn’t just tell a story about deceit; it misleads viewers about its promise. While the premise and star power suggest a gripping, relatable narrative, the execution is underwhelming, leaving audiences with a familiar and bland experience rather than the impact they anticipated.

The film is currently streaming on Netflix.

Release Date: August 15, 2025

Runtime: 137 minutes

Streaming Service : Netflix 

Directed by: Moses Inwang 

Cast: Nse Ikpe-Etim, James Gardiner, Erica Nlewedim, Nancy Isime, Padita Agu, Mercy Aigbe, Caroline Hutchings Danjuma, Yemi Blaq, Tina Mba, Akin Lewis and Tayo Faniran.