After nearly one hour and 45 minutes, 'Son of the Soil' leaves a clear impression, an ambitious Nollywood action thriller that blends revenge, realism, and social commentary, while still grappling with a few technical inconsistencies.

At the heart of the story is Ladejo, a former military officer returning from abroad after receiving news of his sister’s untimely death. His homecoming quickly turns into a personal mission when he discovers her death is linked to a dangerous opioid circulating within the community.

Driven by grief and a need for justice, Ladejo embarks on a solo quest to dismantle the drug network and confront its ruthless kingpin, Shaka. It is a familiar but compelling arc—a hardened man returning to his roots, forced to confront a system riddled with crime and corruption.

The film’s strength lies in its commitment to action. Son of the Soil stands out as one of Nollywood’s more deliberate attempts at crafting a structured action thriller. Its combat sequences feel intentional and, in many moments, more grounded than what audiences have come to expect from earlier productions in the industry.

Ladejo, as the lead, carries the emotional weight of the film convincingly. His decision to abandon his life abroad and risk everything, including his own life and that of his mother, adds urgency to his mission. It’s this personal stake that keeps viewers invested from start to finish.

Visually, the film leans into the energy of Lagos. The use of intense colour grading and handheld camera work creates a raw, immersive atmosphere, placing viewers right in the middle of the chaos. Beyond the action, the story also confronts deeper societal issues, drug abuse, systemic corruption, and the quiet complicity that allows both to thrive. One striking moment involves a nurse being bribed and threatened into silence, underscoring the dangerous reach of the drug network.

However, the film is not without its shortcomings. The persistent use of shaky camera shots, especially during chase and action scenes, sometimes works against the storytelling, making certain sequences difficult to follow. While intended to heighten realism, it occasionally feels excessive and distracts from the overall polish.

There are also moments where realism slips. A notable example is when Ladejo drives a clearly identifiable drug van through the community while being actively hunted by the same criminal network. Scenes like this weaken the tension and raise questions about the film’s internal logic.

Still, Son of the Soil is a film that signals growth. It reflects Nollywood’s evolving ambition, particularly in the action genre, and its desire to compete on a global stage while telling distinctly African stories.

For audiences invested in African cinema, this is a film worth watching. And for fans of action thrillers, it offers a refreshing experience, one that combines intensity with cultural depth, even as it continues to find its technical footing.