Blues, Violence & Deep Southern Vampirism: Sinners Review

If we can keep the ability to give culture the freedom to grow, we’ll be alright. Ryan Coogler’s fifth feature film, and his first of the genre warns us to avoid the temptation of assimilation- culture’s ultimate downfall. That was the case when navigating “free” life in the Jim Crow-era south, and the same stands for protection of current Black communities and their cultural contributions to society. That kind of protection can come with risk, but for the greater good, we’ve all got to sin just a little.

Stills from ‘SINNERS’

The arts have been, and will continue to be one of Black America’s greatest contributions to the world. From hymns came the blues, and if you feed the blues long enough, you’ll get the explosive evolution to rock & roll. Sinners stars Michael B. Jordan as twin gangsters, Smoke and Stack. The brothers return after World War I to hustle in Chicago under Al Capone, but ultimately return to the community and loose ends left behind in Mississippi after “hitting big” (you know what that means). Jordan gives great performances in the dual role, but Coogler chooses rising talent Miles Caton for the subject as to why Black culture, specifically our strong ties to music, is a priority to protect.

Caton is a perfect casting choice. The innocence brought to his character Sammie conjures up a similar reaction to mainstream audiences discovering John Boyega in Star Wars, or David Jonsson in Alien: Romulus for the first time. “Protect that talent- it’s something” is what my grandma would say. With Sinners, that’s the whole idea; assimilation will taint our cultural lineage. If we have to cross a boundary in order to preserve it, so be it. Our descendents will thank us later.

The entirety of the film takes place over the greatest day, and the worst night the ensemble has ever had. Sammie Moore, or “Preacher Boy” (Caton) is the little cousin of Smoke and Stack, and is already one of the smoothest bluesmen Mississippi has to offer- he just hasn’t been discovered yet. The Smokestack twins have plans to open up their own juke joint- a business venture and safe space that’s operated the FUBU (for us, by us) way. Sammie’s set to perform, alongside the cat Delta Slim (Delroy Lindo) and singer Pearline (Jayme Lawson).

After some thorough convincing, the community is on board too. Catfish for 100 people from the Chow family (Yao, Li Jun Li) general store. It’s essential that the fish be fried the deep southern way by Annie (Wunmi Mosaku), Smoke’s flame. Old friend “Cornbread” (Omar Benson Miller), who’s probably the largest man on any Mississippi plantation, takes responsibility for the door. If you know a thing or two about classic vampire law, you’ll understand the power the bouncer holds.

Most of the film focuses on worldbuilding; a Coogler staple. Calling on Ruth E. Carter (Black Panther, Do The Right Thing) for costume design is exactly how you geofiction with purpose. Her character wardrobe matched with Coogler’s subtext rich story direction gives full spectrum understanding to the ensemble’s relationships, fears and flaws. Sinners puts so much detail into exploring its characters, but I feel that some were left deprived of an appropriate conclusion. The cast’s delivery and the sharp cinematography of Autumn Durald Arkapaw won’t ever let your attention slip, but its slow burning pace and heavy dialogue could bring on fatigue before the bloodbath begins. Once it starts though, it goes.

Stills from ‘SINNERS’

Add in the concept of historical hateration, and this drama-forward period piece quickly becomes an aggressive splatter horror. The high vibrational value of the juke joint lures in Remmick, the lead vampire/physical representation of assimilation. Jack O’Connell is a killer in the role and its metaphor. He’s limitless and free of any doubt. His lifestyle seems attractive, and inviting him to join the party comes with the empty promise of real freedom- not the faulty Jim Crow kind. His character is a lover of music too, but the juke joint isn’t the establishment to cross the “for us, by us” code in order to conform to those on the wrong side of history. It’s much like the generational haters who have attempted to mute the contributions by describing them as ghetto or devilish.

Again, if you hold on to the blues long enough, you’ll get a rock & roll finale. This one comes with gore, sexual energy, molotov cocktails, and surprisingly theatrical musical storytelling. It’s clear that Ryan Coogler and composer Ludwig Göransson have a Jordan Peele/Michael Abels relationship, where they click enough to translate feelings into sounds and back again. There’s blood all over the walls, violence is on ten, and from the ashes of blues comes an electric prog-rock sound with a rough exterior to describe the resilience behind it. Although much of the Sinners ambiance calls back to the gritty massacre feel of From Dusk Till Dawn, the score of its heightened moments meet us at a crossroads of modern rock and a punky Italian horror or giallo moment. I want to dance with the devil too.

Sinners is easily going to be one of the best movies this year, and will undoubtedly be a proud addition to the Black horror renaissance. There’s an extremely small chance that you’ll regret that IMAX ticket- I’m just saying.