Hijack '93: A Flight That Never Truly Takes Off

This ambitious story inspired by true events hovers on the edge of greatness but struggles to find its altitude.

HIJACK ‘93 is the latest movie from Play Network Studios, written by Musa Jeffery David and directed by Robert Peters. It is currently streaming on Netflix. This review contains minor spoilers. Like. Share. Subscribe.

From the very start, Hijack '93 feels like it’s taxing down the runway without ever lifting into the thrilling skies it promised. The first ten minutes are an exercise in patience, bogged down by a disorienting buildup that threatens to lose the audience before the real story even begins. Character and story development should pull viewers in, not push them away—especially in a film tackling a high-stakes, publicly known action subject. If I hadn’t known the premise going in, I might have bailed right there, but curiosity kept me strapped to my seat.

This film attempts a fictional retelling of a real-life hijacking incident from 1993. The creative liberties taken here are nothing short of bold—and at times, bewildering. From the moment Sam Dede’s character addresses his ragtag group of men asking for four volunteers to go on a very important mission yet immediately proceeds to handpick the four guys we’ve seen from all the promotional materials, it’s evident this version of events has veered into unfamiliar territory. The portrayal diverges from the publicly-known accounts of the hijacking, and while creative freedom is one thing, Hijack '93 seems to treat “inspired by true events” as a license to rewrite history. There’s a disclaimer at the beginning of the film, so at least it’s upfront about this being more of a reimagining than a reenactment. So if you came expecting a faithful adaptation, prepare for disappointment.

The writing, unfortunately, does little to breathe life into this narrative detour. The script flirts with depth but ultimately settles for the ordinary, never daring to explore the complexity the story demands. The performances are decent, with the main cast, mostly newcomers, fitting well within the movie’s world—a Play Network Studios tradition I admire and root for. However, much of the on-screen action feels like filler. Though the actors do their job, there’s a noticeable lack of energy, as if they’re waiting for the story to give them something meaningful to work with, which never fully arrives.

Allison Nuel as Owiwi in “Hijack ‘93” | Play Network Studios

Then there’s the puzzling choice to cast accomplished talents like Nancy Isime, Sharon Ooja, and Jemima Osunde, only to relegate them to the background as little more than set dressing. Despite their strong followings and talent, these actresses are reduced to mere pretty faces playing air hostesses with hardly a handful of lines between them. It’s baffling—a waste of both talent and potential star power that could have added depth to the story. Instead, they’re given mostly silent roles and a subplot so pointless it feels like a disservice to both them and the audience.

The film’s portrayal of the four main characters —the hijackers— is equally uninspired. We’re given insights into their motivations, but the way the entire thing is structured does the movie very little favor. By the end of the first act, it’s hard to muster any curiosity about who they are or why they’re doing this. A thriller should keep you on the edge of your seat, maybe even make you feel some twisted empathy for the antagonists. But here, they’re just... there. The hijackers are given backstories, but you can’t help but feel like they exist without depth, mystery, and intrigue. It’s as though the script itself forgot these are supposed to be real people with real stakes that deserve an immersive story buildup.

Visually, Hijack '93 at least delivers on the polish you’d expect from Play Network Studios. The production quality is commendable, with clean, sharp cinematography that occasionally hints at the high-octane film this could have been.

As the plot inches forward, we’re drip-fed information about the hijackers, but by the time any real depth is attempted, it’s too late—I’d already mentally checked out. It’s a shame because a story of this magnitude deserves thoughtful storytelling. There’s a wealth of political and social commentary that could have been mined here, but instead, Hijack '93 sidesteps these opportunities, choosing to remain an action film without any real action or profoundly passed message. It’s like biting into what you think is a rich, layered cake, only to find it’s mostly air.

In the end, Hijack '93 feels like a plane that never truly takes off. What could have been a gripping tale of courage, desperation, and survival is instead a meandering journey filled with half-baked versions of everything promised and with little payoff. It’s neither thrilling nor enlightening, and it barely serves as entertainment. Instead, it leaves viewers with a sense of missed opportunities—a film that exists because it could, not because it should.

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