Sinners

FULL SPOILER-FREE REVIEW @ https://www.firstshowing.net/2025/review-sinners-is-one-of-this-years-most-daring-ambitious-films/ "Sinners is living proof that major studios can still produce artistic, provocative, and emotionally resonant movies. With Ryan Coogler's confident and creatively daring direction, an unforgettable, award-worthy score, a strong ensemble cast, and a thematically rich exploration of racial oppression, cultural identity, and spirituality, this is undoubtedly one of the most impactful films of the year so far. An intense, memorable spectacle with a sharp social commentary - and one that demands to be seen on the biggest screen possible." Rating: A-

It’s always gratifying to see a filmmaker take a big step up in his or her career, and that’s precisely what writer-director Ryan Coogler has done in his latest offering, a project that reflects a significant jump in the depth, artistry and sophistication of his creative output. Coming on the heels of his successes in “Black Panther: Wakanda Forever” (2022), “Creed” (2015) and “Fruitvale Station” (2013), Coogler has hit a home run with this period piece smart horror story about identical twin brothers (both played by Michael B. Jordan) who return to their Mississippi home in 1932 after years of working for Al Capone in Chicago, where they made huge money that they now plan to use to open their own juke joint in a converted sawmill. It’s an opportunity where they hope to make even bigger bucks while helping to promote their talented cousin, Sammie (Miles Caton), a blues musician who’s a killer guitarist and vocalist. But, as this ambitious trio launches this effort, they’re confronted with a variety of challenges, including ghosts from their past, the perils of deeply ingrained social prejudice, the dual-edged sword posed by creative and financial success, and, most menacingly, mystical forces that may be more than they’re capable of handling. These narrative components combine to tell a captivating tale about a troubled time in the country’s history, one made all the more ominous with the appearance of supernatural powers that simultaneously offer both potential promise and the prospects of tremendous evil taking root. In bringing this picture to life, the filmmaker has served up an entertaining and engaging offering, one replete with fine performances, superb production values, sharp-edged, perfectly timed comic relief, truly inventive, deftly orchestrated cinematography, and suitably restrained (graphic though not gratuitous) imagery. Admittedly, the screenplay could use some work in a few spots (most notably with tighter writing and clearer plot elaboration), but it also manages to successfully fuse the inherent nature of several genres, including drama, dark humor and smart horror, while also presenting a wealth of insights in an array of areas. Through this picture, it’s easy to see how Coogler has appreciably upped his game as a filmmaker, one that bodes well for his future in the field. It indeed represents the revelation of a talent more profound than anyone has previously recognized or properly acknowledged. “Sinners” is a work that deserves to be remembered come awards season later this year. Let’s hope that it is.

'Sinners' is a fair load of fun. It admittedly didn't fully knock my socks off, but there isn't any doubt that it is a very good film. It's stylish with impressive music and visuals, whilst all of the acting talent give good performances. It's paced astutely too. Michael B. Jordan is as entertaining as he usually tends to be, I do like seeing him act. The dual role is done well here, the 'split screen' is solid but my brain sillily - no matter the movie or standard of how they portray the same actor twice - simply cannot interpret the effect as seamless. Jack O'Connell stands out behind Jordan, particularly for the moments of sing. Hailee Steinfeld and Wunmi Mosaku are the others that I took notice of too, same can be said for Delroy Lindo, Li Jun Li and Omar Miller; I oddly always think of 'American Pie Presents: Band Camp' with the latter (I'm so sorry, Omar). I must say, the trailers revealed too much. I tend to avoid those so assume I didn't get the full brunt of it anyway, though even so I remember catching a couple of bits that don't occur until the gritty part of the movie. It's no biggie, trailers are designed to get bums on seats after all.

I don't think I liked it as much as most people seem to, and definitely not as much as the critics, but think this movie nailed about 85% of what it tried to. The setting, music, costumes, makeup, gore, and effects were exceedingly well done. The film is well-acted (Delroy Lindo was the standout) and it was definitely worth seeing in the theatre. My only complaints are that the ending felt rushed, there are a couple of oddly out of place surrealist sequences, and the villain was weak. It's a fairly long film already, but I think it would have been better if we'd gotten to see another 10 minutes of the interaction between the villain and his initial pursuers, and a few flashbacks would have been helpful. I also think this story would have worked better as a TV series, but still, a very original and enjoyable film. It reminded me a fair bit of the first season of Interview with a Vampire.

Sinners started off similar to a gritty drama in the Deep South, every character felt so built and I was fully invested. Then the vampire elements started twirling in. That first fade into the moon, the guitar riff, unbelievably hard Mr. Coogler. It gave a feeling I haven’t felt since watching dune 2. Oh and the scene where we go through the history and future of music, best scene of the decade maybe? That juke joint was heaven for clarksville that night, a place where people could finally let loose and forget about all their work to enjoy powerful music, rooted in their ancestry. I ascended to heaven, and I’m not coming back down. Under here is a review I wrote in a discord server you don’t need to read it it’s pretty basic: Sinners is the new film from Ryan Coogler, and his first fully original story. This movie just proves how awesome and competent of a director Ryan Coogler is. This movie expertly genre blends drama with horror, which all encompasses the theme of black ownership, music, and religion. Sinners is one of the best new movies I’ve seen this decade. The cinematography (which I luckily saw in 70mm IMAX) was so beautiful and had chills every time the frame would expand to show off a landscape, and breathtaking sunsets and sunrises. Sometimes the frame would transition from a haunting 🤫 to a beautiful moonlight which was backed by the 10/10 musical score. I will mention more later. BTW this movie has one of the BEST SEQUENCES that will make you ASCEND IN YOUR SEAT. Jaw was dropped. It’s not even a horror sequence. The horror elements are so well used in this movie, it’s like kissing somebody and you get a tingle everywhere when something awesome happens. Everything is so badass and goes hard. The action made me shake for the whole 3rd act, it ruled. The end got very emotional too. So so so freaking perfect. See this in a theater. Oh yeah the score. THE GUITAR SHREDDING AT THE BEST TIMES OHOOHOHOHOOH 10/10

Michael B. Jordan is “Smoke” and twin brother “Stack” in this classy drama of a pair who’ve lived on the wrong side of the tracks for most of their lives, but have determined to go home and try to go straight. To that end, they buy an old barn and hope to set up their own speakeasy - with only a nominal nod to prohibition - pumping to the rafters with dancing and blues music. On the way, they ally with talented musician “Sammie” (Miles Caton) and, of course, there’s a bit of baggage for the siblings as they return to a town that’s not altogether welcoming. Once home, a mixture of confidence, threats and collective charisma succeeds in assembling a crowd for their opening night. Pretty swiftly, though, that grand celebration attracts the attention of some travellers who are keen to join the party, but perhaps in true Charlie Daniels style, they have an altogether more menacing agenda. This is the cinematic equivalent of an LP, this film. It starts with one side gradually introducing us a rich collection of characters all of whom could quite plausibly have lived in Mississippi at a time when segregation was as rife as illicit booze, and the two more recently hailing from Chicago gives things a certain gangster element too. There is also a very subtly powerful effort from Hailee Steinfield as “Mary” too. The flip side of the record proceeds to develop some elements of peril with the story, and that’s where it rather runs out of steam for me. It tries very hard to create a sense of hot, sweaty and frenzied jeopardy, but maybe because it has already taken quite a long time to get to this stage, that all comes across as a bit rushed and lacking in punch. It looks great, the visual effects are convincing enough and the production design smoulders perfectly. In the end, though, whilst it proves that MBJ is comfortably able to hold a story, Ryan Coogler has overly relied on a marvellously toe-tapping musical score that has been left to do much of the heavy lifting. That latter point is made more essential by a mediocre audio mix that can make the dialogue quite difficult to make out more often than I’d have liked. This seems to be an increasing issue as directors become more ambitious with their visual aspirations leaving the one thing that cannot be readily faked/augmented - the sound - left at the altar. It’s a cinema film, and will look distinctly average on a television so big screen and soundtrack audio is essential to get the best from this silky looking story with an interesting twist at the end, and again at the very end.

It's a vampire movie. They really hate White people. Sick of this proud to be racist crap.