THLD To Kick Start Training Of Nigerian Engineers, Youths, To Convert Ooni’s Cars

THLD's technical partners

                                        THLD's CEO, Olusegun Olajuwan

The technical team of THLD International Logistics Limited that are to train Nigerian engineers and youths on the conversion of cars, trucks and other mechanical engines from Petrol (PMS) to Lignified Petroleum Gas, (LPG) are being expected in Nigeria on January 21. 2016.

According to a media release made available to the press by the company’s Public Relations Officer Simeon Asemoh, “The foreign technical expatriates would stay in the country for a month. They are to train engineers and other interested youths in Nigeria on how to convert PMS powered engines to the use of LPG. This should be the first time such exchange of technical ideas would be taking place, even in Africa.”

The image maker said that the CEO of THLD, Olusegun Olajuwan had promised the unveiling of the firm’s new redesigned brands of tricycles when the technical partners arrive.
“There would also be the final fulfillment of the plans to convert the fleet of cars of His Imperial Highness, the Ooni of Ife, Oba Adeyeye Enitan Ogunwusi

Other vehicles to be re-modernized are those of Covenant University, Ogun state and the fleets of vehicles belonging to AA Rano in Jos, Kaduna, Abuja and Lagos, “he added.

The company has also brought in the first batch of containers of its newly designed tricycles. The three-wheel vehicles, unlike the common ones in Nigeria, are powered by domestic gas (LPG).

Culled from

CBN, Heritage Bank Provide N2bn Loan To Aquaculture Projects

L-R: Minister of State for Agriculture, Heineken Lokpobiri; Divisional Head, Project, and Development Finance of Heritage Bank Plc, Dele Faseemo, and the Chairman, Triton Group, AshinSamtani, during a tour at Triton Aqua Africa farm sites at Gambari Town in Oyo State.)

In a bid to further support the real sector and unlock food potentials, Heritage Bank Plc in collaboration with the Central Bank of Nigeria provided N2billion long term facility under the Commercial Agriculture Credit Scheme to Triton Aqua Africa Ltd (TAAL).

TAAL known as Triton Farm accessed the CACS through Heritage Bank, which is used to set up aquaculture businesses; nursery/hatchery for the production of fingerlings and brood stock in Ikeja and earthen ponds for catfish and tilapia in Asejire, Iwo and Gambari towns in Oyo State.
The Company’s strategy is to embrace backward integration through the production of fish locally and reduce its importation of frozen fish and as well to assist small-scale farms by producing quality breed fingerlings.

The Minister of State for Agriculture, Senator, Heineken Lokpobiri, during a tour at Triton Farms commended the firm while stating that the CBN and Heritage Banks’ financial support to the company’s achievement is very fundamental as an investment in food security is probably the most profitable venture anyone could think of.

He, however, said that Nigeria has a deficit of over 2million metric tons of poultry produce, and over three million metric tonnes deficit in fish farming products, adding that the agro-production deficits show huge investment potential in the sector.

He further stressed on banks to finance more of Agricultural projects than trading, oil and gas etc., as the future is highly dependent on Agriculture.

The Group Head, Agric Finance of Heritage Bank, Olugbenga Awe stated that that partnership between the bank and Triton Farm local production will conserve scarce foreign exchange and enhance food security.

“Nigeria’s current demand capacity for fish is estimated at 2.7million metric tons and the country currently produces 800,000 metric tons. Triton is now producing 25,000 metric tons and with them on board, about 25,000 metric tons capacity will be added to our current production, the company’s projection is to reach 100,000 metric tons in 5years,” he said.

Awe stressed that Heritage Bank’s support for small-scale enterprises is well known and most of these SMEs play in the Agric sector.

According to him, the bank sees agriculture as one of its heritage that can empower individuals and communities in terms of creating wealth from the soil and through the entire value –chain using value addition and industrialization.

He further disclosed, “We have supported large corporates such as Triton in expanding their capacity and boosting import substitution, we have also supported exporters that export commodities or processed goods which ultimately conserve scare FX and enhance our balance of trade.

“We are also focused on smallholder farmers as we currently support thousands of farmer in Kaduna and Zamfara States in rice and soybeans production under the Anchor Borrowers Programme.

We are also targeting the youth that is interested in agriculture through our partnership with CBN on Youth Innovative Entrepreneurship Development Programme.”

In his remarks, the Chairman, Triton Group, AshvinSamtani, said the farm was fully integrated into aquaculture, poultry and crop production and is a platform to create employment for teeming youth.

“Triton Farm is designed to train youth in agriculture and create employment, as well as generate wealth. This is the only farm in the whole region that is fully integrated into aquaculture, poultry and crop production,” he affirmed.

Sorrow, Tears As Nollywood Actress, Producer Amarachi Igwe Loses Father To Death

The father of one of Nollywood’s youngest producers, Amarachi Igwe has kicked the bucket. He died on Thursday, December 29, 2016, in his office while on duty in Enugu, Enugu State. he was a retired police officer.

            Amarachi Igwe
The late Mr. Timothy Igwe Inah, aged 57, will be buried this weekend, the first week of 2017 in his hometown in Ishielu local government area of Eboyi State, South East of Nigeria.
Mr. Timothy is survived by his wife seven children (3 sons and 4 daughters), and a grandson. He was a close associate of ace actor Jibola Dabo. It was through his relationship with the Ondo-born actor that Amarachi got introduced to the Nigerian movie industry where she started as an actress.
Other Pictures of Amarachi Igwe onset her movie productions:
Culled from

Men That Demand Sex Before Helping Women Are Devils- Actress Opeyemi Adeloye

Upcoming Nollywood actress Opeyemi Adeloye aka Orente has ascribed the status of the devil to men that demand sex from women before giving assistance to them.

Opeyemi called by her sobriquet Opzygal, told E24-7 Magazine during an exclusive interview in Lagos,”Any man who is ready to support you will surely help you without collecting anything from you, a woman. But if the man decides to ask for sex before helping a Lady, he is a devil. This is because it’s only the devil that will never give you something without taking anything from you, in return.”

“These are the men that nurse the idea that women shouldn’t be seen or regarded as equals to men. They don’t know that life without women would be difficult and meaningless. This is because women undoubtedly are the gift of life and rule the world,” she said.
Opeyemi sees no decipherable difference between what men do and the contributions of women, especially in the Nigerian entertainment clime.

“There's no difference between a man and a woman in the film Industry and in Nigeria as a whole. Both sexes are actors. While men produce movies women do theirs too. So no one should undermine the abilities and contributions of women to the development of the Nigerian economy even the movie industry, she alleged and continued, “As the saying goes, what men can do women can do better.”

Opeyemi while having the perception that making money is good poured unprintable expletives on men that champion sexual harassment in the film world. She however cautioned her colleagues that getting desperate would make them victims, “In life generally, everyone must be cautious of the fact that desperately trying to go beyond limits to get what you can’t naturally afford might make them want to do things out of their will. As of such, they may easily end up taking actions they wouldn’t have wanted to take in the first place. When that becomes the case, people would want to take an advantage of them.”

Opeyemi has featured in movies such as Baby Mi, Mo Jere and Spa among others.

Ozzybee Wins Again At NMVA 2016!

WonderKid OzzyBee aka OzzyBosco has hit it again, winning for the second time, The Nigerian Music Video Award (NMVA) of “Best Video By A Minor”. The event which took place at the prestigious Eko Hotel and Suites, Victoria Island saw Ozzybee dusting other contestants for the esteemed prize.

The Award was received by the kid-superstar in the presence of His Imperial Majesty, Ooni of Ife, Oba Enitan Babatunde Ogunwusi. Ojaja II. The first-class monarch also used the occasion to give out his royal blessings and poured encomium on the Kid Star.

The Ooni described OzzyBee as the future of the Nigerian entertainment industry.
Peace icon and former Secretary-General of the Commonwealth, Emeka Ayaoku celebrated the WonderKid for his numerous achievements.

This is the second time the sensational child star has obtained the glamorous award. He won it with his first and very popular song TININI where he featured Lamborghiny, making quite an impression during the voting process. That was in 2013.

This year’s award comes from his well-known single, Smile Again which he dedicated to the Internally Displaced Children in Nigeria and across the world.

The video for the popular song “SMILE AGAIN” was shot by music video director Moe Musa. It was recorded in Nigeria and London. It featured celebrities like Orits Williki, Lamboghiny, Denrele, Kaffy the Dance Queen and a host of others. The breathtaking song has attracted many Awards and recognitions locally and internationally.
Currently, OzzyBee is working on releasing another Video of his star-studded single CHARLIE DANCE featuring legendary Rappers, Ruggedman aka Ruggedy Baba and Vector Tha Viper.

The Behind the scenes of the video have attracted so many views and comments from fans. The audiovisual was shot by two-time NMVA award winner Director Matt Max. It would be launched soon.
Visit www.ozzybosco for more details.


In many respects, this is a very convincing film: it’s a heist movie that leaves the viewer feeling like they’ve actually been robbed.

That’s right. Just check your watch at the end, and you’ll realise that those canny criminals from Takers (2010) have shamelessly robbed two hours of your life without so much as a please or thank you.

But that’s not even this movie’s biggest crime.

Oh, no. Not content with pilfering your hard-earned downtime, the film-makers have also brazenly nicked the entire plot from Michael Mann’s classic movie, Heat.

Now, that wouldn’t be a problem if Takers was a sizzling hot thriller. (Some of Exploding Helicopter’s favourite movies have been, ahem, a touch derivative. Yes, we’re looking at you, Firebirds.) Unfortunately, this low budget knock-off is little more than a lukewarm rehash of the original. They should have called it Reheated.

The plot

The story follows a group of gentlemen thieves who, when they’re not helping the poor and dispossessed (as most criminals are famously wont to do), execute elaborately staged robberies against high-value targets.

But as they plot their biggest ever payday, our merry band of outlaws find themselves pursued by a dogged cop who’s determined to bring them to book.

As the clock to the big job ticks down, we’re left wondering: will the Takers escape with the take, or will the Takers become the Taken? (At which point, Liam Neeson might well start issuing gravelly-voiced ‘Oirish’ threats on his mobile phone again. You know what he’s like about showing off his ‘special set of skills’.)

The cast

Idris Elba: "Give me the lead in a big film or I will shoot."
Given that Takers is a cheap, second tier enterprise, it’s no surprise to find that the cast is a curiously eclectic hodge-podge of nearly men and has-beens.

The dubious honour of topping the bill goes to Idris Elba, an actor for whom A-lister status remains frustratingly elusive. After justifiably coming to fame in The Wire, old Stringer Bell’s desperate efforts to elbow his way into the elite premier club have become increasingly painful to watch. And there’s literally nothing he won’t do achieve it.

Puppyishly eager to please, the aspiring star has deftly chiselled away at his own credibility with a series of unwise choices. In particular, he seems to think that any role in a big budget blockbuster is a good idea.

So he’s been a glorified doormen with a silly hat in Thor, an expendable extra in Prometheus and a tedious, cliché-spouting soldier in the execrable Pacific Rim. And who could forget his unrecognisable ‘blue muppet’ in last year’s Star Trek Beyond? Answer: everyone. (Note to Idris: There’s little point being in a film if the prosthetics mean no-one can actually see you).

Not content with these big banner bad choices, our Idris is also something of a cameo machine – with a peculiar weakness for schlocky horror pics such as Prom Night, The Reaping and 28 Weeks Later. (Complete-ists should also definitely check out his five-minute turn as a gangsta exorcism priest in ‘scary’ yawnfest The Unborn, a self-harming career choice so marked it almost counts as a cry for professional help.) And let’s not even get started on his tiresome campaign to be the next 007…

Joining the wannabe Bond in this movie are two other perennial B-listers: Paul Walker (whose pre-crash career consisted of action flicks even less memorable than the Fast & Furious series). And, wait for it: Hayden Christensen. Yes, the human balsa wood block who, in a spectacular feat of reverse alchemy, transformed an almost unprecedented career break in the Star Wars prequels into two Razzie Awards. (As Yoda might croak: “Truly terrible as an actor he is.”)

Matt Dillon: from Eighties nearly man to Noughties nobody
This unlikely trio are pitted against a resolute cop played by Eighties has-been Matt Dillon. With his immaculately chiselled cheekbones and soulful eyes, Matty oozed charisma in some of the decade’s touchstone films (Rumblefish, The Outsiders and Drugstore Cowboy). He was once even hailed as the best actor of his generation by no lesser figure than uber-film critic, Roger Ebert.

But perhaps, like the sensitive-type characters he typically played, the quiff-coiffured star didn’t quite have the mettle for the cut-throat world of a Hollywood career (where success is mostly enjoyed by robotically-driven sociopaths with the personality traits of an apex predator. Hi, Tom!). By the Noughties, Droopy-eyes Dillon’s slow descent into run-of-the-mill fare like Takers was well and truly under way. Still, it beats queuing at the job centre.

A lukewarm Heat

As Exploding Helicopter has already mentioned, Takers ransacks the plot of Heat – focussing on the ‘cat and mouse’ between the cops and robbers.

But while Heat gave us stunningly filmed LA cityscapes, a noir-tinged script, and superlatively staged action sequences, Takers instead splutters up epilepsy-inducing shakey-cam, cliché littered dialogue (“Just like old times!”) and derivate set pieces.

Such uninspired aping is bad enough, but it’s when Takers tries to be different that the problems really start.

Unlike Michael Mann’s deliberately chill portrayal of ruthless professionals, Takers desperately wants us to like the criminals. Cue awkward attempts at creating empathy.

Big Idris is given an entirely pointless sub-plot where he dutifully tries to help his drug-addicted sister. And there’s a hugely unconvincing scene where the gang divvy up the swag from their last robbery, only for Paul Walker to suddenly ask: “Ten per cent to the usual charities?” (See kids, they’re not all bad!)

The cast of Takers. Or possibly a crap Nineties boyband. 
But it’s during the central heist that the film’s bloody-minded determination to preserve the villains’ ‘good guy’ status reaches absurd levels. As their plan goes awry, our heroes find themselves locked in a gun battle with heavily armed security guards.

Despite standing just a few feet apart and spraying automatic weapons fire at each other, not one bullet hits a human form. It’s ridiculous. Star Wars’ famously target-shy Stormtroopers look like crack shots in comparison.

Exploding helicopter action

While the film blanches at depicting flesh and blood casualties, it’s fortunately not so squeamish when it comes to showing the fiery end of one of our favourite rotor-bladed friends.

Takers opens with our criminal brothers-in-arms robbing a jewellery store located on the upper floor of a skyscraper. To make their escape, Elba and his gang flee to the roof and commandeer a helicopter that, with credulity stretching convenience, just happens to have landed there.

After making their aerial getaway, our plucky anti-heroes abandon the chopper in a deserted car park. As they stroll away, one of the thieves triggers an explosive killing off the helicopter. Rest in pieces, whirlybird.

Artistic merit

Pretty good. The fuselage of a very realistic looking helicopter is blown-up without the need for any obvious digital effects. The explosion is nice and juicy with a soupcon of dramatic slow-motion. Nice.

Exploding helicopter innovation

As everyone knows, cool guys don’t look at explosions. So naturally, Elba and his gang studiously ignore the chopper fireball that erupts behind them as they slowly saunter towards camera.

We’ve seen this action movie cliché countless times before – the earliest one Exploding Helicopter has discovered is in Blue Thunder (1983). And more recently, The Expendables 3 kicked off with Sly, Stath and the rest walking away from a digital chopper explosion so terrible you almost expected to see an ‘Atari’ logo in the corner of the screen.

While we don’t object seeing this trope trotted out yet again, it would have been nice if director John Luessenhop given the scene an original twist somewhere.


Exploding Helicopter loves a good tagline (“In space no-one can hear you scream”; “Just when you thought it was safe to go back in the water” etc). So it’s genuinely painful to encounter piss-poor examples of the marketing art. And Takers has some of the worst ever written.

There’s the meaningless: “Money doesn’t count.”

The feeble: “Taking theatres soon.”

And the unutterably mundane: “Everybody’s after something.”

One gets a very clear sense that, having watched the movie, the marketing team must have decided: Well, if even they couldn’t be arsed to put in any effort…

Review by: Jafo
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