Review | ‘Sinners’ is an achievement for both Ryan Coogler and Hollywood

Photo Collage by Simrah Ahmad, Staff Photographer

Those who haven’t yet seen “Sinners” might be wondering if it deserves the hype. After instant critical acclaim and virality upon release, the vampire horror film bit off only 6% less in its second weekend earnings, marking the best box office dropoff since “Avatar.” Celebrities and fans alike are inundating social platforms with priceless word-of-mouth, and the film has championed both the first female cinematographer to shoot on large-format IMAX film and director Ryan Coogler’s (“Creed,” “Black Panther”) groundbreaking studio deal. In an era of risk-averse studios reserving big budgets for franchises, Warner Bros. chose to swing big with bold, original intellectual property (IP), and audiences determined they have a hit. All this discourse and excitement will inevitably raise the expectations of prospective viewers, which raises the question: is it worth the hype? 

“Sinners” is an outstanding original release that turns what might be other films’ weaknesses into its strengths. It’s a violent horror film, but it mixes in enough genres to attract an elusive half-female demographic, making another argument for the Ryan Reynolds-coined term “four-quadrant R-rated movie.” It employs classic vampire tropes, but it’s a fresh take set in Jim Crow-era Mississippi that uniquely repurposes the undead to represent white colonialism and cultural appropriation. The film takes its sweet time to introduce the antagonists and start the action, but the character development and groundwork laid for its themes in its first act are both entertaining and crucial for its story. It’s a film that on paper shouldn’t work, but it does, thanks to masterful storytelling and filmmaking approaches.

The film follows war veteran twins Smoke and Stack (Michael B. Jordan) on a journey to leave their gangster past behind and bring their community together. The twins, having returned to their hometown in Clarksdale, Mississippi, buy a sawmill and put together a ragtag crew to run a juke joint for local Black residents. Their guitarist cousin Sammie (Miles Caton) joins them, despite his pastor father Jedidiah’s (Saul Williams) warnings about the supernatural powers of blues music. Smoke reconnects with Annie (Wunmi Mosaku), his occultist wife, while Stack is confronted by Mary (Hailee Steinfeld), his bitter ex-girlfriend. The juke joint is a success, but Jedidiah was right; Sammie’s music connects with the spirits of the past, and this power attracts Irish-immigrant vampire Remmick (Jack O’Connell) to the juke joint. At first, Remmick only wants to enter and join their festivities, but once he begins turning guests into the undead, Smoke and Stack’s crew must stand their ground against a horde of bloodthirsty vampires.

The story unfolds with intriguing conflicts between the characters, as well as enough twists and turns for the monumental third act to feel welcome and earned. The script is phenomenal, executing an admirable balancing act of tone, pacing and plot with believable dialogue and a straightforward structure. The strongest part of the story, however, is its set of palpable, human themes. “Sinners” is a story about seeking redemption from your past, protecting your family and defending ownership of culture amidst racial violence and forced assimilation. It’s fitting that Coogler will retain ownership of the film after 25 years, an example of a rare deal in Hollywood that celebrates Black artists and reflects Warner’s dedication to the concept. Coogler conveys these themes with simultaneous subtlety and clarity, and sends a message to African Americans about resilience that can resonate with audiences worldwide.

“Sinners” looks and sounds gorgeous. It’s the first film shot on both IMAX 70mm and Ultra Panavision 70mm cameras, resulting in a presentation that alternates from a very wide 2.76:1 aspect ratio to a menacingly tall 1.43:1. While switching between these may be distracting for some viewers, I found it to be an exciting and unpredictable aspect of the film, especially with the latter aspect ratio being saved for maximum immersion in key sequences. Coogler and cinematographer Autumn Durald Arkapaw are experts at establishing atmosphere, whether it’s low-contrast exteriors to evoke the humid South or moody practical lighting in the juke joint that changes from sexy to scary as the vampires close in. 

The film employs a very simple color palette that varies from fiery yellow-orange interiors to murky black-blue exteriors, making the deep red vampire eyes and blood sprays so much more striking. This simplicity is also seen in the blue and red costumes worn by Smoke and Stack, respectively, a choice that likely represents both the contrast in their personalities and the political division of the time period. A particular dance scene near the middle of the film has taken the internet by storm, and for good reason; as the aspect ratio expands vertically, this simulated one-take traverses the juke joint interior a la “Babylon,” displaying immense precision in choreography and camera movement while introducing a surreal element to the story in an experimental way I have never seen before. 

Because music is integral to the story, the film’s soundtrack and score, both produced by Ludwig Göransson (fresh off of “Oppenheimer”), had a lot of weight to carry. Göransson’s father was a blues lover, and this personal connection certainly comes through in the songs, which were mostly written on set during production. The soundtrack combines the actors’ impressive vocals (particularly Caton’s) with twangy guitars for a timeless iteration of blues, while the score jumps between genres, creating an immersive soundscape with harmonicas, electric guitars and modern rap beats. 

Performances make or break a film, but Coogler already knows Jordan can do no wrong. “Sinners” is their fifth collaboration, and possibly the most challenging yet for Jordan, as he takes on twins with different personalities and very different arcs within the film. Jordan taps into the characters’ war trauma with both overcompensating confidence and erratic violence, bringing depth to two characters at once in an impressive feat. Steinfeld transforms as the aggressive yet irresistible Mary, while Mosaku conveys both her character’s grief and link to the supernatural in an enchanting and engaging performance. The standout, however, is Caton, who steals the show with his musical talent, eager expressions and captivating presence on screen. It is clear that, like Smoke and Stack, Coogler assembled a team that cared just as much about the mission as he did, because every performance in this film reflects immense effort and love for the story. 

All of this being said, “Sinners” is by no means a perfect film. The first act establishes the setting and complex relationships, but despite the dialogue being fantastic throughout, it still slightly drags before the juke joint sequence begins. The film could have ended three times, and each subsequent ending is a bit worse than the last. It feels like the studio intervened to set up a potential franchise, especially with a convenient exception in vampire behavior in the climax that sets up a cliffhanger. Furthermore, “Sinners” spends too much time reflecting on the events audiences just saw, especially in an awkward and unnecessary mid-credits scene. Coogler also chooses to save the emotional climax between the twins for a twist reveal in the mid-credits scene, completely misplacing it when it could have played much stronger during the climax. But with Coogler having the final cut, it was either a tough negotiation with Warner or he actually thought the mid-credits scene was a good idea. I’ll choose to believe the former. 

Regardless, “Sinners” is a rollercoaster ride of a film. It’s got the mainstream horror appeal and racial commentary of a Jordan Peele film, a proper Quentin Tarantino ending and plenty of homages to classic vampire media like “Salem’s Lot” and “From Dusk Till Dawn.” It’s very well-researched and true to its time, immersing audiences into the Jim Crow South with painstaking detail. When one scene makes you scream, you’ll be laughing out loud in the next and have your jaw dropped in the one after that. It’s horny, it’s heartfelt, it’s fun and it’s undoubtedly a film to see in theaters.

Yes. “Sinners” is worth the hype.