Sinners is a genre-blending film by directorial tour de force Ryan Coogler, set in the 1930s Southern Delta where twin brothers Smoke and Stack, both played by Michael B. Jordan, return to their old stomping grounds of Southern Mississippi from Chicago with fat stacks of cash from their adventures up North. Wanting to open their own juke joint for the people, by the people, the brothers start recruiting a hodge-podge of old friends and acquaintances to entertain, man the door, and serve their guests for their big opening night. As their party ramps up, supernatural creatures of the night descend upon them, and a struggle for their life ensues until the safety of the morning light.
There are so many layers packed into this film that it's hard to know where to begin. One thing I think Coogler has truly mastered is the art of setting. Too often, particularly in horror, the setting becomes merely the background, the location where the characters reside. But Coogler jolts it to life. His research is so evident, from the culture and feel of an area, down to its geographical and societal importance in the world at the time.
The film's world is tactile. It feels as if the characters could go anywhere and interact with anything, not just an isolated street or barn. The setting becomes a character in and of itself, and that special touch is enough to push the film to new heights. Then, there's the music. Coogler breathes life into the movie through music. It's the true soul of the story, and structuring the entire piece around blues music and its power was a stroke of genius.
The cinematography captures the film perfectly as well, with a variety of shots that feel rich and intricately layered. Long one-take sequences showcase extended dance scenes and shots, and the excellent lighting ensures everything remains clear and crisp on screen. From the heat of the southern sun to the buzzing of insects and then to the sweat and congestion of a dance hall, it is all felt and absorbed by the audience.
The characters are not forgotten. We all know it is the year of the dual role, and Michael B. Jordan throws his hat in the ring for the best one yet. Smoke and Stack are completely different characters. Stack is the much more carefree and rambunctious brother, while Smoke remains thoughtful and rather careful. They have entirely different relationships and love interests with Smoke and his love with Annie (Wunmi Mosaku) buoyed by tragedy, and Stack with his forbidden love with Mary (Hailee Steinfeld). The characters diverge so clearly and concisely that the viewer is never left confused about who is who and their intentions, which is a wonder considering they visually look exactly the same.
The brothers have history and lore, not always handfed to the viewer, having gone through war and the Chicago gangster underbelly and coming out unscathed. Miles Caton as Preacher Boy Sammie steals the show with his impeccable acting in a first-time role, turbocharged with melodic soul singing and blues guitar playing. The side characters add levity, comedy, and heart to the film, further characterizing the main characters by fleshing out past relationships, friendships, and partnerships alike. Delroy Lindo as drunkard blues musician Delta Slim maximizes every bit of screen time he has, exuding charm and delivering jokes with ease. The creatures were bone-chilling and overall incredibly creepy. Jack O'Connell is mesmerizing as he spearheads the undead against our protagonists, weaving in song and dance into his bloody conquest.
Now, let's revisit the movie's music for a moment. Sinners utilizes music and song as a means to clarify numerous complex plot points. For many Black Americans during this tumultuous period in our troubled history, music was the key to freedom. As they endured long days of labor, the songs of their people kept them going. Blues music, born from pain, hardship, and history, pulses through the narrative. When Preacher Boy Sammie wails his first song in the car, you can feel every bit of that emotion emanating from him. He longs to break free from his world, and music is his way out. It’s been well-documented how blues songs (along with many other genres) were stripped from Black artists and used by White musicians to propel themselves to stardom (I’m looking at you, Elvis).
Coogler effortlessly conveys this. The creatures want Sammie. They want his songs, his voice, and his sound. They are looking to take everything that he can use for true freedom. They promise a better life, a way out, assuring that all of it can be granted through assimilation. The plight of the Black man is also shown throughout the film: the horrible work of sharecropping, the way that the Smoke Stack boys are veterans but receive no benefits and have to flee to Chicago to find any sort of success, the mirage of buying property that was never intended to be honored, and the lingering presence of the Klan at every corner. Coogler showed that for these people, every bump in the night could mean death and horror. He just used something more recognizable to illustrate it.
I review horror, but to call this film simply a horror film would be a great disservice. The genre is indescribable. It is a historical depiction of people, culture, music, and soul—of a region that built people while also chewing them up and spitting them out. Sinners has plenty of horror elements. It's bloody, action-packed, and horrifying. But when you squint, the real horrors lie in the shadows at every turn of reality for these characters, and Coogler did a masterful job putting a face to them. This is filmmaking at its finest. A wholehearted, raw, and honest rendition of generations of pain and suffering, all framed into one 24-hour period. Do yourself a favor and go bite into Sinners. See this on the biggest and loudest screen you can. It deserves every bit!
Sinners is now playing in theaters everywhere.