Sinners
Ryan Coogler, the visionary director behind Fruitvale Station, Creed, and Black Panther, has once again ventured into uncharted territory with Sinners, his first entirely original feature film. Following a career of reinterpreting existing stories, Coogler delivers a narrative drenched in thematic layers, genre fluidity, and emotional depth. Sinners blends multiple genres—from the evocative portrait of life in the Jim Crow South to pulpy vampire horror, all while exploring the spiritual and supernatural potency of the blues. This cinematic journey, as artful as it is blood-soaked, is unlike anything Coogler—or any filmmaker—has done before.
Michael B. Jordan (left) and Miles Caton in 'Sinners.'
Warner Bros.
Set in 1932 Mississippi, the film introduces Smoke and Stack (both played by Michael B. Jordan), identical twin entrepreneurs returning to their hometown of Clarksdale after surviving the trenches of WWI and Chicago gangland. The brothers plan to open a juke joint in the heart of a segregated, poverty-stricken town, but their arrival is met with resistance from both the local Klan and supernatural forces lurking beneath the surface.
At the heart of Sinners is the power of music—specifically the blues, which serves as a conduit between the living and the dead. The film opens with Sammie (Miles Caton), a young sharecropper whose haunting blues guitar possesses the ability to conjure spirits, both good and evil. This sets the tone for a gripping story that delves into ancestral myths from Africa, Ireland, and Native American lore, where music becomes a spiritual force that draws both liberation and destruction.
The film’s narrative weaves together themes of love, power, and race, with three intertwining love stories. Smoke’s reunion with Annie (Wunmi Mosaku), a Hoodoo conjurer, is the most captivating—showing the evolution of love against a backdrop of supernatural danger. The sensual and raw energy of their relationship contrasts sharply with the violence and horror that gradually takes center stage as the brothers’ juke joint becomes the target of a supernatural onslaught.
As the violence escalates, the film leans into its horror roots, particularly as vampires, led by the chilling Remmick (Jack O’Connell), descend upon the juke joint in an effort to snuff out the freedom the music has awakened. The film’s intensity builds, merging metaphysical and historical tensions, and Coogler balances the horror with profound reflections on spiritual freedom, race, and cultural survival.
What makes Sinners truly remarkable is its ability to meld high-concept horror with a deeply emotional story about survival and self-determination. The music, composed by Ludwig Göransson, takes on a life of its own, from the haunting blues tunes to the electrifying sequence during the opening-night performance. This auditory experience amplifies the visceral impact of the visual storytelling, shot in stunning 65mm IMAX and Ultra Panavision 70 by cinematographer Autumn Durald Arkapaw.
The film’s ensemble cast brings its characters to life with impressive performances. Michael B. Jordan showcases his versatility as Smoke and Stack, delivering both intensity and charm in his dual roles. Meanwhile, Mosaku shines as Annie, a woman with the wisdom to understand the supernatural forces at play. The standout, however, is newcomer Miles Caton, whose portrayal of Sammie is raw and compelling, capturing the torment and desire of a young man caught between his gift and the consequences of using it.
'Sinners' is a genre-bending narrative that blends supernatural horror with a poignant commentary on race, spirituality, and liberation. With Coogler's deft direction, a superb cast, and a soundtrack that pulses with soul, this film is an unforgettable experience. While it may not be as immediately accessible as Coogler's previous works, it is undoubtedly his most daring project to date. Sinners demands to be seen on the largest screen possible, where its sound and visuals can fully immerse the audience into the supernatural world it so powerfully conjures.
