Ryan Coogler is a cinematic force to be reckoned with, and his latest film, “Sinners,” only cements his legacy in Hollywood.
Starring Michael B. Jordan in a dual role of twins Smoke and Stack, this supernatural horror feature is an entirely original concept that has audiences and critics equally raving.
Set in post-WWI Clarksdale, Miss., Smoke and Stack are two veterans returning home after spending time in Chicago’s mafia-infested city. Armed with money, booze and confidence, the twins arrive in Clarksdale to recruit musicians to perform in their new business venture: a juke joint.
Director Coogler’s past collaborations with composer Ludwig Göransson were key in both of their respective careers, but in “Sinners,” Göransson’s music transcends an already incredible tale. Since the narrative revolves around the supernatural’s connection to skilled musicians, it was paramount to have a score composed by one of the best on the planet. Although every other component of the film was excellent, the music stood out and helped shape the intricate details while adding to the folklore behind the story.
Whenever Jordan and Coogler team up, there’s an unspoken guarantee that magic will appear on the screen. Jordan being on screen twice doubles that magic, surrounded by an equally gifted cast to fill out the rest of the roles. Hailee Steinfeld makes her mark as Mary, Stack’s ex-girlfriend who’s still so wildly enamored with him that she self-inserts herself into the main plot of “Sinners” to get closer to him.
The show’s real star, however, is Miles Caton’s film debut as Sammie Moore, the younger cousin of the twins who possesses otherworldly musical talents. This is an extreme case of a musician who can act, but Sammie’s abilities as a musician were perfectly utilized to catapult his character’s arc beautifully.
What made “Sinners” so special is how Coogler took the time to build up the world before throwing the audience into the deep end. Sammie starts to let loose on his guitar with a tune that channels his abilities and begins to surpass time itself, which attracts the vampire Remmick (Jack O’Connell) and a couple of accomplices. The plot takes place over 24 hours, and it isn’t until sundown that Remmick’s true intentions begin to unravel.
The plot twist where Remmick turns into a vampire is a masterclass reveal, respecting traditional attributes culturally defined since Dracula. Clever use of vampiric myths is exquisitely woven into a couple of scenes, such as the need for an invitation to enter a domain or the use of garlic, silver and sunlight as wards against vampires. Once the third act kicks into gear, nothing keeps all the elements from converging.
“Sinners” isn’t a slow burn, nor does it take time to establish itself. The jump scares and horror elements make themselves known earlier on, but once the appropriate threshold is crossed, it simultaneously explodes into action and terror.
The care and expertise of Coogler with film is on full show within “Sinners,” pairing his love of well-crafted storytelling with a tragic ending. What’s most surprising is the deal made with Warner Bros., where he regains the rights to the intellectual property after 25 years.
The mid-credits scene is not only a shocker, but a vehicle to establish a sequel, assuming Warner Bros. and Coogler want one made. “Sinners” has incredible potential as a franchise, and a sequel hasn’t already been announced at this time, as the avenues to explore its world seem countless.
Marvin Goines is a film/TV critic who has been writing reviews on various types of multimedia since 2021. His work can be found on websites such as ‘The Cosmic Circus’ and ‘Movies We Texted About.’
