After the Sugar Sisters, discover a whopping $800,000, the financial crimes commission and also the supposed owners of the cash come for them but the cash is lost.
Now to save themselves, and rescue their abducted mother they team with 2 crime agents to re-steal the cash from an affluent but dangerous man with supernatural powers.
The movie starts off with three sisters – Sola (Bisola Aiyeola), Susan (Adesua Etomi-Wellington) and Bola (Bimbo Ademoye) – engaged , and questioned by obvious bad guys – or do I say this case, bad woman (Toke Makinwa) – over an enormous amount of cash, and right from the beginning, you’ll see the well-timed comedy.
Not just comedy in terms of words, or irrelevant actions, but facial expressions, stutters, and also elements of surprise. And amidst all these , you’ll tell something serious is going on.
There’s a mother battling cancer, there are law enforcement officers trying to uncover and tackle corruption. a woman features a personal vendetta against an upscale and powerful man, amongst the comedy, we see the chemistry between three struggling sisters, who stumble into unexpected wealth.
We also see an honest little bit of hierarchy among those siblings; the oldest (Susan) is street-smart, may also be a bit uptight, worrying about consequences, concerned about an ailing mum; while the youngest (Bola) is the goofy (or goofiest) one, who makes faux-elite Instagram videos and features a happy-go-lucky attitude towards life and is concentrated on ‘balling out of control’.
Bola is played by Bimbo Ademoye, who deserves mass credit for making a grand entry into a comedy flick, and owning it; everything is seamless and without hassle. There’s no over-acting or under-acting on her part, and she just flows with the movie.
Another quality of Sugar Rush is that it doesn’t attempt to be superficially sophisticated. The way characters bounce from one language to the other , the peerless transition from English to pidgin, from pidgin to English, from English to even more traditional dialects, and back and forth. This doesn’t just give the movie tons of originality but also aids the comedic aspects.
The comedy aspects also don’t get within the way of the messages Sugar Rush passes across. It’s sometimes hard to seek out anything concrete in comedies, but you can’t fault this movie on that front. Even when made as a joke, you continue to get the points; how they subtly mix harassment, power and also the disregard for the rule of law, corruption and naivety amongst law enforcement officials, laxity among those officials because ultimately power trumps justice in this world.
Yet, for all the brilliant spots, Sugar Rush seems to spot a fault somewhere towards the end. Almost like working so hard within the early stages then taking your foot off the gas late on. Suddenly, it becomes too absurd, over-cooking things with the metaphysical powers, an invisible car, and a bulletproof villain – it also highlights the purpose that Nollywood films can’t seem to form a strong big bad character without giving him some kind of extra-terrestrial powers, or finding how to overblow the character.
Perhaps there was some extra point in this movie, judging by its end. This might be a review clutching at straws to offer a movie more credit than it should get, but perhaps there’s the case, that for all the powers and metaphysical feats, you’ll simply be outsmarted by someone with a brain. But the ending still leaves a way underwhelming feeling.
Not that this could undermine the other parts of the movie, which delivered excellent literary and cinematographic scenes; from highlighting on power and influence to showing us the real shock of individuals stumbling into a murder scene.
Sugar Rush dips within the end, but probably – by Nollywood standards – earned the proper to drop off. It’s by no means a masterpiece, but it’s definitely memorable and well well worth the watch.