MOVIE REVIEW: “SINNERS” (R)
– By Adam Mast –
Right out of the gate, let it be known that “Sinners” is quite the bold swing for the fences because, despite what the marketing is probably leading most folks to believe, it isn’t really a vampire film. Well, that’s not entirely true. It is partly a vampire film but there’s certainly a lot more going on here. To say that it takes certain risks would be a gross understatement. It should also be noted that this latest effort from writer/director Ryan Coogler (“Fruitvale Station,” “Creed,”, “Wakanda Forever”) demands to be experienced on the biggest screen with the very best sound possible because it’s truly an all-immersive experience.
“Sinners” opens in the deep south, circa the early 1930s, and introduces us to charismatic twin brothers Smoke and Stack (both played by Michael B. Jordan with the help of strong direction, stellar acting chops, and a little movie magic), as they return to their hometown with aspirations of opening a Juke Joint. Before they can pull it off, though, they’ll need to round up the right team to put this epic venture together and this will ultimately bring them face to face with old friends, family members, lovers of the past, tragic memories, and of course, most unexpected foes. Foes that will ultimately challenge them over the course of one hell of a night.
Where to start? “Sinners” is simply alive. There’s almost no other way to describe it. It’s like ten films rolled into one but it never feels convoluted or overstuffed because Coogler and crew handle the proceedings in such a seemingly effortless way. Additionally, this is a movie that wears its many wonderful influences proudly on its sleeve, something that Coogler has been very vocal about. In fact, some viewers may even find things in there that others won’t. Two films I certainly felt echoes of were the Robert Rodriguez/Quentin Tarantino vampire romp “From Dusk Till Dawn” and Walter Hill’s underappreciated ode-to-the-blues road movie “Crossroads” (not to be confused with the Brittany Spears-headlined film from the early 2000s.) What’s special here, though, is that “Sinners” never feels like a ripoff of any kind. On the contrary, it feels like the work of a visionary with a pure love for cinema.
In terms of performances, Coogler has put together a stellar ensemble headlined by the likes of Jordan (who manages to sell the twins by giving Smoke and Stack very distinct character traits) and newcomer Miles Caton who literally hits all the right notes as an up-and-coming bluesman named Sammie Moore. The exceptional roster of supporting players also includes the likes of Hailee Steinfeld (you’ve never seen her like this before), Delroy Lindo (a joy as always), Jack O’Connell (an underappreciated actor who shines yet again), Omar Benson Miller (immensely entertaining), and Wunmi Mosaku (mysterious, passionate, and enchanting) just to name a precious few.
“Sinners” is dramatic, thrilling, funny, violent, bloody, sexy, adult, and bleak, but in its own way, it’s also poignant and even hopeful. This is to say nothing of the fact that it’s positively oozing in authenticity, and in the end, it’s all the stronger for being all of these things. “Sinners” brings so many ideas to the table. it’ll leave viewers plenty to chew on. There are themes of racism, culture, oppression, appropriation, legacy, and yes, even vampirism to be sure but Coogler and team display these ideas in rich and exciting ways that are sometimes surprisingly subtle and open to various forms of interpretation. And to top it all off, “Sinners” is also a musical of sorts. At the very least, it’s a celebration of music. And a breathless one at that.
Beyond that, the fashion in which “Sinners” goes about delving into the nature of art itself and how our life experiences inform that art is certainly not something I was prepared for. Look no further than a pivotal scene that happens during the end of the film. No spoilers here, only to say; DON’T leave when the end credits begin to roll because the particular scene to which I’m referring is not the kind of sting we’re all now accustomed to seeing at the end of a Marvel movie. With all due respect to superhero films (yes, for the most part, I’m a fan), this is something far more thoughtful and profound.
Congrats to Coogler and his entire creative team, DP Autumn Durald Arkapaw and composer Ludwig Göransson among them. The stunning craftsmanship and world building in general go without saying but further props to this terrific storyteller for never sacrificing character in the name of a boring explosion or a pointless kill. This guy is a special talent to be sure and while I absolutely LOVED “Creed,” this might be his strongest work to date.
