‘Sinners’ Review: Ryan Coogler’s Deep South From-Dusk-Till-Dawn Vampire Film Is a Lavishly Serious Popcorn Movie, With Michael B. Jordan in a Dual Role as Criminal Brothers

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Sinners,” helmed by Ryan Coogler, is an immersive, atmospheric blend of history and fantasy, set within the backdrop of a Deep South town during the 1930s. This film, rich in imagination and powerful performances, presents a vivid portrait of a community grappling with the presence of vampires. It’s not just a thrilling, gory spectacle – it pushes the boundaries of the vampire-as-metaphor concept to its extreme limits. The movie packs a significant thematic punch, though it may not always cohere seamlessly. Regardless, “Sinners” stands as an impressive example of how a seemingly lighthearted popcorn movie can be both spirited and thought-provoking.

The story unfolds in 1932, spanning an extended day and night in the small rural town of Clarksdale, Mississippi. This region is inhabited by sharecroppers, blues musicians, bigoted white men, and simmering sexual tension. Michael B. Jordan portrays the Smokestack twins, Smoke and Stack, who were born and raised in Clarksdale but ventured to fight on the Western Front during World War I. They ended up in Chicago where they worked for Al Capone, refining their criminal skills. They have a history of hustling, pimping, and violence. Having returned to their hometown amidst the era of Jim Crow, one of them remarks, “Chicago isn’t anything but Mississippi with tall buildings.

Jordan’s movie features twin characters skillfully created using modern digital techniques. These characters exchange cigarettes casually, and the film subtly avoids making any clear distinctions between them. One character is adorned with a blue British flat cap, while the other wears a red-brimmed hat and has gold outlines on two of his teeth. However, they share similar characteristics such as a thick goatee, muscular good looks, large handsomeness, and a casual drawl reminiscent of crushed mint.

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In Jordan’s film, twin characters are seamlessly presented using cutting-edge digital effects. They pass cigarettes back and forth, and the movie strategically avoids making obvious distinctions between them. One character sports a blue British flat cap, while the other wears a red brimmed hat and has two gold-outlined teeth. Nevertheless, they both have a thick goatee, muscular good looks, large handsomeness, and a laid-back drawl similar to crushed mint.

To truly discern the differences between the two, one needs to scrutinize more closely. The distinction lies in Stack’s gentle yet expressive smile, contrasted by Smoke’s absence of it; in Stack’s resilient but flexible nature to show mercy, while Stack exudes a colder demeanor. Jordan masterfully portrays these nuances quietly and subtly, much like Robert De Niro did in his underappreciated dual role in “The Alto Knights.” The Smokestack twins embody the corrupt counterparts of the classic good cop and bad cop, although they share a bond that’s as deep as their sophisticated attire. And Jordan imbues them with an undeniable star quality.

Many horror films boast lofty concepts, but “Sinners” stands out among mainstream productions as it tackles substantial and spiritual themes: the consequences of sin within the Black American community. This theme in the movie encompasses the acceptance of criminality as a means to overcome oppression, as well as the figurative ‘bargain with the devil’ associated with Robert Johnson, who is believed to have struck such a deal at a crossroads to acquire his extraordinary musical talent (considered the pioneer of blues music and essentially the founder of rock ‘n’ roll).

In the movie “Sinners,” Robert Johnson isn’t present, but instead, we find Sammie Moore (portrayed by newcomer Miles Caton), also born in 1911 and often called Preacher Boy. He stands out with his unique skill – a mesmerizing guitar rhythm and soulful voice that takes the blues soaring towards the heavens. The Smokestack twins, his relatives, invite him to perform at their juke joint. They also extend an invitation to Delta Slim, a weathered harmonica and piano player (brilliantly played by Delroy Lindo) who’s known for his tough exterior. He’s willing to travel anywhere as long as there’s plenty of liquor, which the twins have stocked up on with 500 bottles of Irish beer from the north.

Over the past 12 years, I’ve been fortunate to build my career and gain influence in Hollywood, one strategic move at a time. With the powerful impact of “Fruitvale Station” (2013), I established myself as a potential successor to a filmmaker like Scorsese. Following this, I crafted “Creed” (2015), a thoughtful and effective spinoff of the Rocky series, and then took the reins for the blockbuster hits “Black Panther” (2018) and its sequel, propelling me to A-list status. Today, I stand as a filmmaker with significant clout. “Sinners,” a film I’ve recently made, offers insight into my creative journey and also reflects on the current state of movie culture.

In numerous aspects, “Sinners” embodies a personal perspective, richly woven with the gritty and extensive portrayal of 1930’s African American life in rural Mississippi. The film is visually stunning, with Autumn Durald Arkapaw’s cinematography enveloping us in the radiant beauty and foreboding gloom of the sun-kissed countryside. It’s also the fifth collaboration between Coogler and Jordan, and the director’s talent is evident in the seamless manner he connects with Smoke and Stack, making their success a compelling prospect for viewers. Despite their aggressive strategies, these characters exude an air of powerful entrepreneurs. Their goal is to stage a show that will captivate the night at their juke joint, which they believe will lead to significant profits. However, their plan doesn’t unfold as anticipated, but they still manage to make a substantial profit.

Initially, the horror genre might not be evident in “Sinners” during its first hour due to its striking realism. The Smokestack twins spend an afternoon preparing for the opening of their juke joint, and as they enlist help from various community members (such as buying catfish and commissioning a sign for the juke joint from the local grocery store owners, portrayed by Li Jun Li and Yao), we become increasingly invested in this tight-knit community. The film cleverly incorporates backstories for each twin; Hailee Steinfeld plays Mary, a woman who was loved and then abandoned by Stack, which adds complexity to their relationship. Although Stack doesn’t verbally express it, it’s clear that the racial prejudices of the world hindered his ability to maintain their romance. Smoke, on the other hand, had left Pearline, the local medicine woman he had a child with (the baby sadly passed away). Jayme Lawson portrays Pearline with great intensity and passion, making her a formidable presence in the film.

Initially, I became so deeply invested in the characters that I felt a pang of dismay when Remmick (played by Jack O’Connell), a troublesome vampire, appeared at the home of a farming couple who had a Ku Klux Klan sheet and hood tucked away. Soon enough, all three characters were displaying glowing red eyes and fangs. It seems that Coogler is making the film he wants to create (maybe influenced by Jordan Peele’s approach). However, you can also sense the lure of the megaplex whispering, “How will a mainstream movie succeed if it doesn’t follow the fantasy formula?” Frankly, I don’t want to witness Ryan Coogler’s unique style being overshadowed by that.

In the novel “Sinners”, vampire metaphors are often sensual, but they don’t represent romance in this context. Instead, the vampires symbolize entrenched racist white culture, trying to halt the party. These vampires can only enter the juke joint if invited, which our characters, Smoke and Stack, are too wary to do for these uninvited guests. However, they find another way to infiltrate – by persuading Mary to step out and engage with them, as they serenade her with a soothing folk tune.

In a different perspective, the immortality offered by the vampires appears to be a deceptive trap, resembling mindless zombies seeking to drain your autonomy. In this unique scenario, the hidden implication becomes even more profound as the African-American characters strive for independence, discovering it in the empowering ambiance of the juke joint. As the main characters find themselves ensnared and battling for survival, “Sinners” unfolds into a chilling tale of vampirism transforming into a cultish phenomenon. A particularly unsettling scene involves the vampires, led by O’Connell’s fiery-eyed Remmick, performing an Irish step dance (with Black vampires among them who have been converted and are part of the cult), conveying the ominous message: Forfeit your liberty and join us.

In one scene, Coogler uses a lengthy, meandering camera shot through the dance floor, showcasing a partygoer who resembles someone straight out of a Parliament/Funkadelic concert, followed by a breakdancer, a hip-hop DJ, and other characters seemingly out of sync with time. This sequence suggests that this vibrant scene is where it all began. Although the delivery might come off as slightly didactic, the intricate staging makes it effective. However, Coogler also incorporates a layered mythology within the film, potentially even overloading it. The music represents freedom and the dawn of a new era, but it’s also tinged with darkness, reminiscent of the Robert Johnson legend. Preacher Boy, who receives his guitar from the twins (Smoke tells him it belonged to Charlie Patton), is the son of the local preacher. He’s rebelling against the church by playing the devil’s music. But does “Sinners” truly believe in this notion? Keep watching for a lengthy post-credits sequence, which serves as more than just a teaser – it’s where Coogler, featuring blues veteran Buddy Guy, concludes his film’s imaginative cosmos. Perhaps he could have made the cosmology a bit less elaborate.

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2025-04-10 19:19