“The Waiter” Is A Rare AY Misfire

Just a glance at the stacked poster and flashy trailer for Ayo “AY” Makun’s “The Waiter” is enough to make anyone considering an alternative holiday flick to Funmi Akindele’ s “Everybody Loves Jenifa,” think it’s a worthy shot.

And it’s AY, a veteran whose reputation in front of the camera and on the producer’s chair makes convincing the average Nigerian moviegoer hardly a challenge. Furthermore, AY himself promised that The Waiter would be a departure from his past works, aiming to capture “the experiences we all share as Nigerians.”

Unfortunately, dear reader, this is one of such instances where the age-old line, “looks can be deceiving” is appropriate. Not only is “The Waiter” disappointingly similar to AY’s previous films, but it also manages to regress in virtually every department—from direction to quality, innovation, and even AY’s supposed stronghold: comedy.

The “waiter” in this case is AY himself, reprising his stage persona, Akpos, the courageous Warri-born character who serves as part of the catering team for an event hosted by the Minister of Poverty Alleviation (played by Shaffy Bello) at the Krystal View Hotel.

Without any credible explanation of his skills or qualifications, the movie deems Akpos the unlikely hero to save the day from a Tonye Bright (Bucci Franklin)-led terrorist group who hijacks the event and demanding the release of poverty alleviation funds from the hostage dignitaries. Akpos easily disarms and defeats armed men in close-quarters combat, intent on escaping.

In action-thriller fashion, “The Waiter” points to a meeting with the villain. While it does happen, he never actually confronts Bright, or the government which ties the two together. Worse, the stakes are watered down to below thresholds of caring. Akpos in this movie is ultimately an uninspiring hero and is proof that now may be the time for AY to lay his eccentric character to rest.

Bucci Franklin’s Tonye Bright is one of, in not the only glimmer of light in this movie, with Thanos-level motives and a method of execution alien to most Nigerian on-screen villains. Franklin’s façade of unpredictability and the terrified faces of the dignitaries is a level of acting that cinemagoers lighten their pockets for. Alas, his character is left dangling on an unresolved cliffhanger, which feels futile unless a sequel is already in the works.

As for the other famous faces in the poster, “The Waiter” excels at the very difficult job of botching a Brain Jotter, Kunle Remi, Toke Makinwa, Nasboi and Dino Melaye cameo. In other words, their addition as a “comedy dessert” fell short because they bring nothing that earns so much as a chuckle.

Beyond the botched cameos, “The Waiter” bears the unmistakable fingerprints of amateur filmmaking, most evident in its glaring lack of attention to detail. Put another way, Akpos’ out-of-thin-air martial arts feat is far from the only thing not making sense.

Key questions beg for answers: How does Bright track down Akpos’ family thousands of miles away? How do the hotel’s security systems fail so spectacularly? Why does Femi, the head of security (played by Deyemi Okanlawon), neglect to investigate the surveillance room after spotting a breach? And why are the terrorists oblivious to the disappearance of their comrades? It’s obvious questions like these weren’t though through, possibly in favor of the comedic appeal.

Despite being saddled with an undeniably flimsy script, director Toka McBaror, known for his brilliant work on “Almajiri,” manages to salvage some elements of “The Waiter.” his past experience and craftsmanship are perhaps the only reasons he avoids taking more of the blame than necessary. At the very least, the film’s score and cinematography are competent enough to keep audiences mildly engaged until the credits roll.

“The Waiter,” squanders a golden opportunity. Much like “Hijack 97”—which was the biggest letdown of the year—it had the potential to delve into meaningful themes of vigilante-like justice dispensation stemming from the incorrigible government corruption, and the overarching human flaws of greed and moral compromise (“everyone has a price”). Instead, it doubles down on slapstick comedy and relies heavily on the assumption that Nigerian audiences will consume content indiscriminately, regardless of its quality.

But it’s blind addiction to comedy ensures it fails both as a comedy thriller, comedy action and, most disappointingly, as an AY blockbuster. Don’t be misled by the celebrity-filled posters or current ₦280 million box office haul. If you’re seeking a meaningful or enjoyable cinematic experience, look elsewhere.

Release Date: December 20, 2024

Streaming Service: None, Cinematic Release

Runtime: Approximately an hour and 40 minutes

Directed By: Toka McBaror

Cast: Ayo Makun, Bucci Franklin, Deyemi Okanlawon, Shaffy Bello, Regina Daniels, Kunle Remi, Rahama Sadau, Chris Attoh, Toke Makinwa, Williams Uchemba, Kenneth Applegate, April Chidinma, Dino Melaye, Brain Jotter, Boma Akpore, Gregpry Ojefua, and Nasboi.

TNR Scorecard: 1 star