Sinners

Rating 7/10

What a treat! Here, we are blessed with an original story from a talented filmmaker that isn’t a sequel, remake, reboot, or based on existing IP. This fresh narrative springs entirely from the imagination of Ryan Coogler, the director behind Fruitvale Station, Creed, Black Panther, and its sequel.

Our tale begins in Mississippi in October 1932. Michael B. Jordan plays twin brothers nicknamed Smoke and Stack. They’ve just returned from Chicago after stealing money from gangsters and proceed to purchase an old sawmill. Their goal: transform it into a juke joint—a makeshift pub where Black communities in the South gather to dance, drink, and listen to live blues.

As they prepare for opening night, Smoke reconnects with Grace and Bo Chow (Li Jun Li and Yao), a married couple who run a grocery store. He fends off would-be thieves trying to rob his truck and visits his estranged wife, Annie (Wunmi Mosaku), who practices voodoo. Meanwhile, Stack rounds up talent and security—Delta Slim (Delroy Lindo) and Cornbread (Omar Benson Miller)—and recruits their cousin Sammie (Miles Caton) to perform. Sammie soon meets Pearline (Jayme Lawson), a woman who’s spoken for but likes to flirt anyway. Old wounds resurface when Stack’s childhood love, Mary (Hailee Steinfeld), returns to confront him with grief over being forgotten.

What starts as a richly detailed window into history unexpectedly evolves into a horror picture. The thing is, I was most captivated by the setup and characters. For the first 45 minutes, Coogler does an excellent job establishing the atmosphere and crafting authentic people in a specific time and place. I found myself simply living in that world and appreciating the depth of the narrative.

A big part of the film is about music. Sammie, known as Preacher Boy, is played by real-life musician Miles Caton, a gifted guitarist and singer. I especially enjoyed the scenes in the jukejoint where he performs. The blues is an essential foundation for many other genres. That idea is honored by a creative visual display in one of the most exciting sequences of the year.

That same night, the juke joint opens to a full house, and Sammie’s soulful melodies stir spirits across time. The haunting beauty of the music draws the attention of a stranger named Remmick (Jack O’Connell), who approaches the club as a country artist. He’s accompanied by a married pair (Peter Dreimanis and Lola Kirke), and they perform Irish folk tunes together. Their songs are compelling, and appear to be a talented trio—until they reveal their true nature. They are vampires. Yes, actual undead creatures of the night who cannot withstand sunlight. It’s a unique twist, but I was more invested in the realistic period piece.

The film ambitiously juggles a lot of different ideas and genres. It’s a postmodern mythic tale that blends Southern Gothic, historical drama, crime thriller, blues fantasy, supernatural horror, retribution plot, and social commentary. It’s sexy and even funny in some parts. Vampires must be invited into a room before occupying a space, and Coogler’s screenplay has some fun with that idea. It all climaxes in a bloodbath. While a conclusive end, it is a traditional way out of what had been such an audacious account. I would have preferred a more nuanced finish.

Sinners is still one of the most original movies of the year and well worth checking out.  It’s an allegory—Coogler pushes a not-so-subtle comment on the predatory forces that exploit creativity. That point would have been more powerful if the story had stayed within the credible context of the first act. It might have had even more… bite.

04-17-25