Nollywood’s latest venture into historical thriller territory with “Hijack ’93” demonstrates admirable ambition but ultimately fails to reach its intended altitude. The film, which recently debuted on a major streaming platform, attempts to recreate a compelling piece of Nigerian aviation history but crashes under the weight of its numerous technical and narrative shortcomings.
Directed by Robert Peters and penned by Musa Jeffery David, “Hijack ’93” recounts the true story of four young men who orchestrated the hijacking of a Nigeria Airways flight during the country’s military regime. The film assembles an impressive ensemble cast featuring notable names such as Nancy Isime, Sharon Ooja, Jemima Osunde, Idia Aisien, and John Dumelo. However, even this stellar lineup struggles to elevate the material beyond its fundamental flaws.
The production team deserves recognition for their commitment to authenticity in certain aspects. The use of an actual aircraft adorned with period-accurate Nigeria Airways branding shows promising attention to detail. The military elements, including uniforms, weapons, helicopters, and trucks, alongside convincing ambient sound design, demonstrate a clear attempt to match Hollywood production standards.
However, the film’s periodic authenticity begins and ends with these surface-level details. Despite being set in the 1990s, “Hijack ’93” fails to capture the essence of the era. The modern visual aesthetic betrays the historical setting, with the cinematography and color grading doing little to evoke the intended timeframe. This disconnect is particularly evident in the costume design, where the air hostesses’ contemporary styling clashes with the period setting. Their overtly modern attire and hairstyles create a jarring anachronism that pulls viewers out of the supposed historical context.
Perhaps most problematically, the film struggles with its fundamental storytelling obligations. The screenplay inexplicably omits crucial context about the hijackers’ motivations, leaving audiences to piece together a puzzle missing essential pieces. This narrative void undermines the film’s potential to explore the complex sociopolitical landscape that gave rise to such a dramatic act of civil disobedience.
The performances, while featuring recognized talent, feel rushed and fail to generate the necessary tension for a hijacking thriller. Bob Manuel’s puzzling choice to affect an American accent while portraying a Nigerian Army captain exemplifies the film’s occasional departure from authenticity. These acting choices, combined with a noticeable lack of action and suspense, result in a surprisingly bland retelling of what should be an inherently gripping story.
Technical inconsistencies further undermine the film’s credibility. A particularly glaring plot hole involves a hijacker inexplicably bringing a gallon of petrol aboard the aircraft with no explanation of how such a dangerous item cleared airport security. While the film takes care to explain how weapons were smuggled onto the plane through an accomplice, this oversight stands out as a significant logical flaw.
The film’s shortcomings are especially disappointing given its unique position in Nollywood’s evolving landscape. As the Nigerian film industry continues to gain international recognition and streaming platform presence, “Hijack ’93” represents a missed opportunity to showcase the industry’s capability to handle complex historical narratives and action-oriented storytelling.
While the attempt to break away from Nollywood’s traditional genres deserves acknowledgment, the execution falls short of both industry standards and audience expectations. With a rating of 5/10, “Hijack ’93” serves as a reminder that ambitious premises require equally ambitious execution to succeed.
The film’s release on a major streaming platform, where it competes with higher-quality content, makes its limitations all the more apparent. While it may signal Nollywood’s willingness to explore new territories, “Hijack ’93” unfortunately demonstrates that the industry still has considerable ground to cover before it can successfully navigate more challenging cinematic airspace.
