The Masked King is one of those rare Nollywood movies that grabs your attention right from the first scene. The cinematography is top-notch, and the picture quality looks clean and professional. It’s the kind of film that makes you sit back properly, because you know you’re in for something serious.
The story is based on a dark moment in Nigerian history—the killing of twin children in Creek Town, Cross River State. While the movie doesn’t follow the historical facts word-for-word, it still manages to tell a powerful, fictional version of the events, filled with betrayal, tradition, and power struggles.
The plot follows a kingdom in turmoil. The people rise against their king, betraying him and leaving him exposed. His mother, determined to protect him and the throne, does everything in her power to keep her son from losing his crown. It’s a dramatic, emotional tale of politics, family, and loyalty.
The cast includes Bernard Raubenheimer, Daniel Etim Effiong, Gideon Okeke, Jenny Stead, Jude Chukwuka, Segun Arinze, Shaffy Bello, Uche Montana, and Uzor Arukwe. The movie was directed by Uduak Obong Patrick.
One of the strongest parts of this movie is the acting. Everyone brought their A-game. Daniel Etim Effiong deserves special praise for playing twin brothers. He made each twin feel like a separate person, with different voices and personalities. It was impressive how believable it was, even when both characters were in the same scene. However, that plot reminded me of the Hollywood hit movie, The Three Musketeers, starring Leonardo DiCaprio.
Shaffy Bello played the mother to the king with deep sorrow and emotion. Her tears didn’t feel forced. You could feel the pain of a mother watching her world fall apart. She cried in almost every scene, but it never got boring or annoying. It just made her performance more real.
Uche Montana, Gideon Okeke, Segun Arinze, Jude Chukwuka, and the foreign actors did a fantastic job. No one felt out of place. Everyone understood the assignment and played their roles well. I must especially commend the foreign actors and the facial expressions displayed while portraying their characters.
Most of the characters were well developed. You could see what motivated each person. The scared king, the grieving queen mother, the loyal sister, the scheming cabinet, the wild bandits—they all had their own moments that added depth to the story.
It was also refreshing to see a Nollywood film set in southern Nigeria. We don’t often get epic stories from that part of the country. The movie showed off Efik culture well, even though most of the dialogue was in English. They used the Efik language in a few scenes, which sounded beautiful, but I wish they had used it more. If they had gone deeper into the local language, it would have made the movie feel even more authentic.
Costumes weren’t exactly accurate for the period. The costume worn by the traditional priests looked like what Yoruba Ifa traditionalists wear. What truly stood out in this movie was the lighting. The night scenes were very well lit, and I was really impressed by how well-balanced the lighting was in scenes where Black and White actors appeared together. Usually, Black actors suffer from poor lighting in such scenes, but that didn’t happen here. The lighting team clearly knew what they were doing, as I hardly saw hotspots on the foreheads of the Black actors.
The only thing I would say is that the movie was a bit predictable in some parts, especially if you already know the history. Still, the suspense and performances made up for it.
In the end, The Masked King is a bold and emotional movie that tells a meaningful story. It’s not just a film—it’s a creative tribute to a painful part of Nigerian history. And it does it justice. It gets a 7/10.
