Director Ryan Coogler sank his teeth into the box office with “Sinners,” a thrilling horror that has already brought millions of North Americans to movie theaters. Fiercely Black, unapologetically political and raw, “Sinners” instantly rocketed to the top of box office charts, second only to “A Minecraft Movie.”
The movie takes place in 1930s Mississippi, riddled with racism and fear of the Ku Klux Klan. It opens with a haunting scene: Sammie Moore, or Preacher Boy, played by Miles Caton, staggering into his father’s church, blood smeared on his torn clothes with a destroyed guitar in hand, leaving the audience wondering what happened.
As the words “one day earlier” appear on the screen, the audience travels back in time to see Sammie reuniting with his twin cousins, Smoke and Stack, both played by Michael B. Jordan, who are preparing for the grand opening of their new blues joint.
What was supposed to be a night of blues, dancing and drinking quickly unravels into a chilling tale ripped straight from the pages of a supernatural folktale. As vampires infiltrate the club, killing and transforming revelers, the night shifts from celebration to a desperate fight for survival.
One of many things that sets “Sinners” apart from other horror films is its laser focus on setting a rich mise-en-scène. By the time the bloodshed begins, the audience will have nearly forgotten that they are watching a vampire film, not an aesthetically charming testament to Black culture amidst the enduring legacy of slavery in the 1930s Deep South.
“Sinners” highlights Coogler’s mastery of crafting layered character arcs. As the director of both “Black Panther” movies and a collaborator on the three-part “Creed” series, Coogler is no stranger to making movies centered around the complexities of Black identity. He spends the first half of “Sinners” establishing each character within the deeply racist environment they inhabit so intimately that when people start dying, the audience actually cares.
The film’s careful construction of each character’s individuality makes their shared Blackness all the more impactful. Even though they all lead distinct lives, the film shows how they are bound together by a devastating history, but also a beautiful culture.
“Sinners” is stunningly realistic — until it suddenly isn’t. This abrupt shift into the supernatural is part of what gives the film its power. Without the vampires, “Sinners” might have become a familiar Black-versus-white conflict. Instead, these supernatural beings who feed on anyone serve as an allegory for the corrupting forces of white supremacy and cultural imperialism.
As both Black and white people fall victim to the vampires, Coogler reframes racism as a pervasive social disease that infiltrates society in a myriad of ways, suggesting that anyone can be seduced by the allure of hate, regardless of race. This message forces viewers to confront their own complicity in systems of racism, leaving a lasting emotional impact.
Yet even as “Sinners” confronts the harsh realities of these oppressive systems, it is just as committed to celebrating Black life and resilience, specifically through blues music. The music drives the narrative forward, becoming a character in its own right. “Sinners” reminds us of how important music is in shaping Black identity and how often it has been a target of cultural appropriation by spotlighting the timeless influence of African-American music.
While the score serves as an important device reflecting Coogler’s commitment to historical accuracy, the outstanding acting is what makes the movie. Jordan’s excellent portrayal of the “Smokestack” brothers makes it easy to forget it is the work of just one person. Wunmi Mosaku, who plays Annie, delivers a layered performance so emotionally resonant that it moves the audience to tears. Delroy Lindo, who plays Delta Slim, has impeccable comedic timing that adds a humorous layer to an otherwise serious movie. Caton, Hailee Steinfeld and Li Jun Li also deliver superb performances that add talent to the diverse cast.
Coogler’s newest movie is one of the most original and authentic takes on racism in contemporary cinema. In a time where racial injustice still lingers, “Sinners” is a realistic horror story, despite its supernatural elements, and a thought-provoking film that lingers long after the credits roll.