Spoilers ahead for the plot and ending of Sinners.
Ryan Coogler’s movie “Sinners” circles back to its origin: The film opens with a young man named Sammie (Miles Caton) arriving at a modest church in rural Mississippi in 1932, injured and covered in blood. His father, the church pastor, greets him, pleading for him to discard the guitar and abandon music. A subsequent scene transports us back in time to the morning prior, where Sammie’s cousins Smoke and Stack (played by Michael B. Jordan) return from Chicago with a modest sum earned through shady deals with Al Capone. Their plan is to establish a juke joint, hoping it would provide a platform for their musically gifted cousin to perform. This venture aims to heal old wounds from their last homecoming.
As the sun dips below the horizon and the jazz starts playing, a horde of vampires descends on the scene. What was once a lively dance party transforms into a bloodbath: Stack and his former lover Mary (played by Hailee Steinfeld), as well as Smoke and his estranged wife Annie (Wunmi Mosaku), are turned into vampires, while others suffer fatal wounds. When Sammie arrives at his father’s church the following morning (the entire film spans approximately 24 hours), he is the sole survivor from the previous night. However, upon seeing the post-credits sequences, it becomes clear that this ending, along with much of what we witnessed in the past two hours, may not be as straightforward as it seemed.
Following the initial scene change signified by a blackout, Coogler transports us approximately sixty years ahead, to Chicago in 1992. The renowned jazz artist George “Buddy” Guy, portraying older Sammie (although credited as “Jazz Musician” on IMDb, hinting at possible past vampire-fighting exploits), strums a guitar in a bar. As the evening concludes, two individuals arrive: Stack and Mary, adorned in vibrant, ’90s attire. It is revealed that neither of them perished during the speakeasy incident – Mary escaped before dawn and Stack made a pact with his brother. Instead of slaying his undead twin, Smoke chose to let him escape on condition that Sammie live out his life in full. This seems to contradict Remmick’s (Jack O’Connell) instructions to Smoke about the vampires’ democratic socialist system, as they do not typically form factions. However, it appears that Stack has chosen to disregard the group in order to honor Smoke, who he still holds a deep affection for, and his lingering attachment to his young cousin.
After fulfilling his part of the agreement, Stack now visits Sammie one more time before returning to his usual existence reminiscent of “Only Lovers Left Alive” – a life filled with style, socializing, and enjoying live music, as one might expect a laid-back vampire would indulge in if they had an eternity ahead. In their long years as vampires, Stack and Mary have shared this lifestyle together. They invite Sammie to share their cherished immortality, but he declines. Instead, he tells his cousin that the night at the juke joint, before the violence occurred, was the best night of his life. Stack concurs, admitting it was the last time he saw his brother.
Reflecting on the poignant post-credits scene, I found myself transported back to Sammie’s youthful days, strumming a seemingly resurrected guitar as he crooned “This Little Light of Mine.” The film’s prelude hints at musicians with the power to heal and harm, and it’s clear that Sammie belongs to this enigmatic group.
Caton’s performance in this scene was captivating, a testament to his raw talent as an actor making his big-screen debut. Yet, the scene leaves us questioning its true intent: is Sammie once more attempting to shatter the barriers between worlds with a song that could either unite or resurrect the vampires? Or was it merely a chance for Caton to shine in his first feature film role?
The final frame leaves us hanging, but Sammie seems to know what lies beyond – the mystery of who might be standing at the edge of his father’s church when the music fades remains unanswered.
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2025-04-19 02:54