Movie Review: ‘Son of the Soil’ Aspires to Be Nigeria’s John Wick but Falls Short

As Nollywood seeks to expand its reach into global markets, 'Son of the Soil' (2025) comes onto the scene with considerable promise.

Originally released in December 2025, the film became available on Netflix for international viewers on March 1, 2026.

A collaboration between the UK and Nigeria, 'Son of the Soil' is directed by Chee Keong Cheung, featuring a script from and starring Razaaq Adoti. Eager to position itself as Nigeria's equivalent to 'John Wick,' the film is packed with action sequences typical of the genre but ultimately lacks a lasting impact.

While audiences can expect adrenaline-pumping moments, the film's execution leaves much to be desired. Its plot revolves around a young woman's tragic fate and her brother's return from America to seek justice, which is set against the backdrop of a dangerous new drug wreaking havoc in Lagos.

The film opens with a report on a lethal drug named 'Matrix,' responsible for numerous deaths in Lagos. Following this, we see Ronke, a young woman in a rush for work, getting caught in a fatal situation while attempting to document a murder. Tragically, before her demise, she manages to send a distress message to her brother, Zion Ladejo, a former special ops soldier in the U.S.

Upon his return, he finds that Ronke has been labeled just another victim of the drug's violence, prompting him to embark on a vengeful quest to uncover the truth.

Dr. Baptiste, portrayed by Philip Asaya, is depicted as both a medical professional and a cunning drug lord, creating a central conflict that never fully utilizes the potential for exploring moral complexities.

As the protagonist, Adoti presents a formidable presence, skillfully embracing the physical demands of his role as Zion. Unfortunately, the script fails to explore his emotional vulnerabilities, making it challenging for audiences to connect with him deeply. While good supporting performances from veterans like Patience Ozokwor and Ireti Doyle enrich the film, others, including Sharon Rotimi's Ronke, suffer from underdeveloped characters, appearing vaguely as mere narrative devices.

Cheung's direction successfully captures the essence of Lagos—the gritty streets, vibrant chaos, and raw energy—while maintaining a realistic portrayal of its environment. Fight choreography stands out as visceral and gritty, straying away from overly stylized depictions common in many action films. Scenes such as Zion emerging from a hospital in just a gown inject a surprising boldness into the narrative, reminding viewers of the film's ambition.

However, the flaws lie primarily in the film's writing. Zion is depicted as an almost mythical avenger with minimal insight into his psyche. Comparatively, characters like John Wick offer a richly textured view of their emotional landscapes, which is sorely missing here. Ronke is relegated to a mere plot device, and while the film gestures at complex themes—identity, family loyalty, and corruption—it fails to explore them thoroughly.

Despite its shortcomings, dismissing 'Son of the Soil' outright would be unjust. It signifies Nollywood's exploration into a genre that has long been the domain of Western and Asian filmmakers. With technical improvements in choreography and cinematography, the film suggests potential for a more robust action film scene in Nigeria.

Although 'Son of the Soil' aims to position itself as a Nigerian version of 'John Wick,' delivering action and drama, it ultimately lacks the storytelling finesse and emotional depth that define classic action films. It is entertaining, yet it falls short of being a strong competitor.