Ryan Coogler has struck gold with his new Southern gothic horror period piece “Sinners.” Set in 1932, the movie follows a set of twins, Smoke and Stack (both played by Michael B. Jordan), as they return to their hometown in Mississippi after a seven-year venture into the casino scene of Chicago. The two businessmen plan to open a juke joint for their home community to enjoy food, drinks and — most importantly — the blues. Smoke and Stack travel around their small town, recruiting old friends to help put together a new space for the largely nonwhite community — a necessity, especially in the era of Jim Crow.
Just in time for their grand opening, the juke welcomes the community for a night to remember. However, things quickly take a turn when three white vampires appear, looking for entry into the nonwhite space. When denied at the door, they turn to play their folk music just outside, soon drawing in more and more people to their cult while sucking the life — and music — out of their victims. Full of allegory, music and a touch of horror, “Sinners” unfolds a fascinating story in its 137-minute runtime.
The cast is packed, with Jordan pulling double duty as the close, yet very distinct, twins Smoke and Stack. Smoke, the oldest of the two and decked out in blue accent colors, is protective of his younger brother and greater family. Stack, cunning in his red accents, is always ready to jump into an opportunity or risk. Jordan molds two sharp personalities for each twin and allows for their relationship to speak for itself. While simple camera tricks and splitting Smoke and Stack up for a large portion of the film allow Jordan to fall deep into each role, some of the best moments come when the two brothers are working together.
Jordan’s work with the twins is also evident in their respective love interests. Mary (Hailee Steinfeld) is Stack’s former girlfriend — a multiracial woman who was able to marry into privilege after their relationship ended. Stack’s return to the South and the juke venture bring the two back together. Unfortunately for everyone, Stack’s undying love for Mary and the arrival of a trio of white folk allow for evil to seep into the venue. Smoke is also able to reconnect with a lost love in Annie (Wunmi Mosaku), a Hoodoo conjurer. The two, while sharing limited screen time, have a connection that transcends the physical realm. In the end, it is the love they share for each other that allows their souls to find peace together.
Li Jun Li’s performance as Grace Chow, a grocery store owner and unofficial sign designer, is also captivating. Although Li may not have as much screen time as her co-stars, she brings raw energy into her most powerful scenes. Grace’s decisions reflect the struggles and complexities of motherhood when sacrifices are made to protect those we love. Grace is perhaps the most sympathetic and intriguing character to connect to throughout the film. Likewise, Pearline (Jayme Lawson) is a force of beauty and talent. Pearline’s live performance of “Pale, Pale Moon” at the juke is a reason in itself to see this film.
A delightful addition to this cast is someone you may not have known was the focal center of “Sinners” — Miles Caton as Preacher Boy Sammie. Caton makes his film debut as Sammie, the younger cousin of Smoke and Stack. The son of a preacher, Sammie spends his days working on the plantation to help provide for his four younger siblings. Although he works out of duty to his family, Sammie’s heart is in music and the blues, with his guitar constantly in his head for most of the film. Despite the marketing, “Sinners” is about Sammie and follows a single day that, although one of the best of his life, changes things forever for the boy. Caton delivers the most outstanding performances throughout the film, infusing every scene with an addictive energy that the cast can’t help but feed off of.
In addition to the cast, the biggest draw of Coogler’s script is its intimate relationship with time. The heart of the film lies in its ability to blend together time, allowing the ancestors to live in its space as a guide and a reminder. In one powerful scene, Delta Slim (Delroy Lindo) explains to Sammie and Stack how he knows the prisoners singing on the side of the road as they performed manual labor in the hot sun. Slim recalls the stages he once shared with the men, the joy they all created through their music and their ambitions to escape their small town. These ambitions were quietly squashed when one of the men was unlawfully lynched by a group of racist men in a train station. As Slim tells the story, we can hear the past events in the background, although they are not shown on the screen. Slim then breaks out into song, the music simply fighting its way through his lips. This moment racks over your body, reminding the audience that, although we may not always be able to see them, the ghosts of our ancestors linger around us. While history may be erased, the consequences can still be felt.
Another major highlight of the film can be found in its music and scoring. Scored by the legendary composer Ludwig Göransson, “Sinners” delves deep into the music. From blues to gospel to traditional Irish folk, Göransson elevates the film by using music as a connection to the world around these characters. The score fills almost every moment of the film, rooting it into the beloved tunes of Southern households. The moments in which the film is silent thus become full of tension, allowing us to sit in a world where music is slowly being drained away. Göransson and Coogler also find a way to make a traditional Irish performance, “The Rocky Road to Dublin,” sinister as it’s performed by the ever-growing vampire cult in the dark.
Göransson’s composition shines through most when Sammie begins to perform his original song “I Lied to You.” As he sings, the world seemingly falls apart to allow for the veil of time to fall away. The living, the dead and the not yet existing perform together with distinct styles and peoples moving through the space. In a moment in which an entire community becomes one with their past and future, there is nothing to do but sit in awe. With Caton having learned the guitar just months before filming, the scene holds a rawness to it.
“Sinners” also moves away from the so-called ‘Blaxploitation’ genre, not shying away from the real struggles Black Americans face and cruelties performed by the Ku Klux Klan, but also detailing the joys created by Black Americans. The final confrontation sequence offers a new ending to a well-known story, one in which it is possible to overcome the oppressors. The film delves into the music and faith created by Black Americans, with the blues being part of its DNA.
Through its in-universe and created community, “Sinners” explores a different and often overlooked narrative of being a person of color in America — a place that will suck the life out of you, regardless of what it claims.
There are many other highlights to “Sinners,” including its stellar production design, spot-on Southern accents, religious complexities, costuming and spin on the tired vampire trope, but the most significant part must be its exploration of time and human connection. So, do yourself a favor and go see it in theaters anywhere.
“Sinners” opens in theaters nationwide on Friday.
