'Sinners' Is Ryan Coogler's Calling — And He Delivers
Blues, bloodsuckers, and brotherhood — Sinners shows why Ryan Coogler is one of the best in the game. | MINOR SPOILERS
Last night (last Thursday — I’m a slow writer, please) I watched Sinners, directed by Ryan Coogler and starring Michael B. Jordan and you guessed it— Michael B. Jordan. The film has amassed rave reviews from critics and pre-screener audiences alike. It’s been highlighted for its originality and the artistry of its music, so I was incredibly excited to sit down and watch.
Sinners takes place during the Jim Crow era, in Clarksdale, Mississippi. Twin brothers Stack (Michael B. Jordan) and Smoke (Michael B. Jordan) are returning soldiers, looking to open their first juke joint with the help of their community and family.
The film has a distinctive first and second half. The first half is, of course, setup — but beautifully done. The world feels lived-in and tangible, like you’ve been transported in your seat to another time. The set designs and costuming are equally as phenomenal; you can tell that Coogler and his team put an extensive amount of research, time, and love into this film.
Michael B. Jordan does a fantastic job performing as both twins and handling their two contrasting stories. Ensemble performances by Miles Canton, Wunmi Mosaku, Hailee Steinfeld, Delroy Lindo, and Jayme Lawson not only heighten the world of this film but also enrich the characters of Smoke and Stack.
The music — dude — Sinners is ultimately a love letter not only to the blues but to all music. It’s what drives this film at its core, and it’s the aspect that makes Miles Canton the heart and soul of the story.
Miles Canton. What a voice.
There’s a scene in the film that Canton absolutely kills. It encompasses the legacy of Black music and culture, both past and present. I’d argue this is the definitive point where the second half of the film fully takes over.
And then — the vampires.
I loved the callback to the classic vampire rules: they burn in the sunlight, garlic repels them, they hate silver, and — most importantly — they need to be invited in. So many modern vampire adaptations (Twilight — team Edward! — Vampire Diaries, etc.) stray away from these traditions, so it was oddly refreshing to see the basics honored here.
Jack O’Connell plays the head honcho of the vampires, and he’s magnificent in the role. He’s charming but admittedly too charming, so the hairs on the back of your neck begin to rise.
The backstory of his character is told within his dialogue, and the way the character tries to juxtapose his lineage with that of African Americans to manipulate the twins into joining his army is really interesting. I’d even argue it’s a clever way for Coogler to tackle a deeper theme without making it too on the nose. O’Connell’s character is mentioned to have Irish heritage, and there’s one scene where even I, along with the characters, was dancing in my seat.
I’m afraid he might’ve gotten me.
Despite all my praise for the film, I do think the latter half didn’t hold up as well as the first. The film followed the same play-by-play we often see with vampire movies, much like From Dusk Till Dawn — when our characters lock in for battle.
Characters make dumb choices, like turning their backs on vampires and inviting unwelcome visitors in. The ending was action-packed and fun, but also incredibly messy and rushed.
Sinners tries to be a lot of things at once, but it struggles to fully deliver under such a limited timeframe.
I remember thinking, right before the end credits: I don’t know how to feel about this. I felt like I was turned every which way — and maybe that’s the feeling Coogler wanted the audience to have. But personally, I wish the film had more time to flesh out certain aspects.
If there were a ten-hour cut of this film, I’d gladly strap into my seat and lock in. But there are still moments I believe they could’ve absolutely expanded on, even in a reasonable runtime — I’m looking at you, Native American scene.
I wanted to be nosy.
The post-credit scene, at least, gave me more of a sense of closure. It was slower, which was nice, especially after the wild ride the last twenty minutes put you through.
Overall, I give the film a solid 4 stars out of 5. If you haven’t seen it yet, do yourself a favor and go watch it in theaters. The crowd amplified my particular screening, and this film is literally made for the big screen. And if you have, did you like it or were you left feeling a bit overwhelmed?
Support original work and artists in this industry. And be on the lookout for Miles Canton, I’m telling you he is a damn star.
