The 70mm IMAX presentation is pristine and completely encapsulating. It’s used to great effect in a number of key scenes. It’s a truly phenomenal experience when the film expands from the 2.76:1 aspect ratio to the 1.43:1 70mm IMAX frame.
Sinners is the latest feature from writer director Ryan Coogler who is responsible for the acclaimed films Fruitvale Station, Creed and Black Panther. This is the first time he’s written and directed a wholly original film that isn’t based on true events or an existing IP. He has labelled Sinners his most personal film to date as it was inspired by his late grandfather who had an affinity for the delta blues genre of music, and grew up in Mississippi which is where this story takes place.
Set in 1932, Sinners tells the story of twin brothers Smoke and Stack (both portrayed by Michael B. Jordan) who seek to leave their troubled lives in Chicago behind, when they return to Mississippi to start anew and open up their own Juke joint. During their opening night they begin to discover that a supernatural evil is present and threatens to take the lives of them and their friends.
I have anticipated Sinners since word hit the press that a bidding war had begun between studios vying for the rights to produce Coogler’s latest script, A period horror film involving vampires. When I saw the first trailer I thought we were in for a horror experience mostly contained in a single location. To my surprise Sinners is so much more than that.
Primarily this is a film centered on history, religion, music, African spirituality and even to some extent capitalism, and that’s just scratching the surface of what makes this film feel rich with substance to unpack. It wrestles with many bold ideas and themes without delving too deep into them and ruining the allure of it all. As a result it made me curious to see and understand more about these characters and their past experiences, as well as the world Ryan has created along with the vampire lore and how it is connected to music.
Calling Sinners a horror film almost sells it short because it combines so many other genres impeccably. On top of that I don’t think I’ve seen Black spirituality and our connection to our ancestors explored in this way before. It’s powerful whilst somehow remaining subtle. Part of the beauty of what Coogler has achieved here is the fact that there’s so much subtext for audiences to explore and engage with if they wish. Yet the film is still able to more than satisfy those who don’t want to engage with that side of it, and simply want a grand and entertaining cinematic experience. The spiritual nature of Sinners would make it a great double bill alongside the 1973 vampire classic Ganja & Hess.
Sinners seamlessly melds genres together to create what feels like a true epic. Horror films rarely get the budget and narrative scope to be this large. As a lover of the genre it’s truly fascinating to behold. Ryan Coogler’s script balances a tale about gangsters and power amongst a story about a young man trying pursue his passion, whilst being restricted by his father and his devotion to faith. On top of that you have horror and the inclusion of diegetic music which is integral to it all. Ryan Coogler is a generational writer director and a master of his craft. The scope of his ideas and ambitions astound me. It’s an extremely challenging task to balance all the converging elements of this film but he pulls it off with finesse.
Michael B. Jordan is fascinating to watch in this dual performance because he gives Smoke and Stack distinct traits, mannerisms and an emotional core that makes them compelling as individuals, and feel believable as twin brothers. They’re two men who are bound to the reputation and trajectory that their troubled past has led them to, but they are trying to free themselves from the weight of that life. This ties into the spirituality of the story and theme of vampires. Michael B. Jordan has been one of my favourite actors since 2013. Creed had a major impact on me, I love that trilogy and the plight of Adonis. I still think he hasn’t fully received his flowers for that role but I believe his performances in Sinners will wake people up.
The technical mastery used to combine his two different performances within a single frame is executed perfectly. There’s a lot of physical interactions between the twins and not for one second did it break the illusion. Their introductory scene features them both in the same frame exchanging a cigarette back and forth. It’s a seamless composite of two frames of Michael’s performance brought together, and was an early indicator of the impressive technical feat that had been achieved. The cinematography is rich with texture and a wide array of colour and tones, this is amplified by the 70mm film presentation. The Panavision 70 ultra wide aspect ratio makes this feel like an older film whilst presenting beautiful frames to soak up. The 70mm IMAX presentation is pristine and completely encapsulating. It’s used to great effect in a number of key scenes. It’s a truly phenomenal experience when the film expands from the 2.76:1 aspect ratio to the 1.43:1 70mm IMAX frame. Seeing film being projected on a screen of that size is so special. The first major music sequence stunned me visually, sonically and conceptually. The execution and what it symbolises left me breathless. Ryan Coogler and composer Ludwig Göransson find a sweet spot of creative synergy which makes that sequence mesmerising.
Ludwig’s score is integral to this film. It’s an excellent blend of delta blues and folk music that is infused with modern percussion and rock as the story progresses. It’s a score that runs the gamut of the genres that were birthed out of the delta blues, which ties in thematically with the story. One of the core messages it explores is how these popular genres often associated with White people, were birthed out of genres that began with Black artists and how the credit for that influence is often overlooked. The rock elements that are added to the score feel reminiscent of the instrumentation and chords that you’d find in the scores, composed for classic Italian horror films from the 80’s. Demons 2 is one that springs to mind. It has a grand theatrical quality to it as well. This is one of my favourite film scores in many years because the music evokes strong emotions out of me each time I hear it. Whether that’s during the film itself or listening to it in isolation as I go about my day. It’s so beautifully composed that the music itself paints images in my head from the film.
The cast is filled with well rounded characters who are developed and interesting in their own right, but also due to their relationship dynamics to the core characters in the story like Smoke and Stack. They aren’t cannon fodder to be killed like you may expect. It’s a credit to Ryan’s script which presents them as people who are integral to the story, and integral to understanding the subtextual depth of the world Coogler has set this story within.
Miles Canton portrays Sammie who is the Smokestack twins’ cousin. A character who seems destined to forge his own path to success through his love for Blues music and his talent for performing that music himself. Miles is a revelation as both an actor and a musician in what is an incredible film debut. Sammie is at the core of this story and you could argue he’s the primary character of the narrative. Miles is able to shine in the musical moments and in the dramatic scenes he is able to convey a level of emotional depth that is beyond his years.
Well written female characters are something that Ryan has consitently brought to the screen throughout his career and he maintains that with Sinners. There are four women within the core ensemble and whilst they all have romantic connections to male characters in this story, none of them are defined by it and they bring much more to the film than that. Wunmi Mosaku portrays Annie who has a romantic connection to Smoke, and is the most knowledgable character in regard to many of the spiritual elements at play within this story. Wunmi brings a loving warmth to the role whilst layering it with intelligence. I like how her integrity was upheld and you could see how that forms the backbone of Smoke’s trust in her, so once things go awry he trusts her guidance with minimal doubt.
Mary has a history with Stack which added a dimension of depth to her character that I didn’t expect. It would’ve been easy for her to be in the script only to serve one narrative purpose later in the film, but Hailee Steinfeld is great in this role and she brings an endearing quality to Mary. Ryan’s script ensures that she isn’t restricted to being a heartbroken former lover. Her chemistry with Michael B. Jordan is electric and they’re able to convey a level of sensuality that plays into the theme of lust which is always fitting in a vampire story.
Delroy Lindo delivers a multi faceted performance that is surprisingly complex despite the fact that he’s occupying a supporting role. His character Delta Slim embodies the pain and resilience that inspired the creation of the Delta Blues genre. One scene in particular early on highlights this in a very moving way which left a lasting impression after the credits rolled. He is able to balance the pain of those dramatic moments with subtle humour that makes Delta Slim very likeable.
The vampire elements of Sinners are sharp. Coogler incorporates some recognisable traits of vampire lore whilst adding new dimensions of his own to make it feel fresh and original, particularly through the use of music. Jack O’ Connell balances subtle charm with intense menace as the primary antagonist Remmick. His purpose and where he fits into the story thematically is one of the most thought provoking aspects of the film that will likely spark a myriad of interpretations from the audience.
Within the context of African American Venecular English the term biting is used to describe copying or stealing something from another person, such as their style. That makes the vampires within this film a smart allegory for this theme within this story, in regard to how certain genres of music have been appropriated throughout history. The Black pioneers of those genres are often forgotten by the masses in favour of the White artists who were inspired by them.
Lust and sex is a primary element of vampire stories from the past century, and Sinners is fearless when it comes to incorporating that in a way that feels organic to the story. Romance is one of the many genres Ryan splices together with purpose, as it leads to moments of temptation with a small amount of eroticism.
Sinners reportedly has a budget in the range of $90 million and it’s all visible on screen. The visual effects are impressive in many ways. It’s clear that so much work has been dedicated to flawlessly putting both of Michael B. Jordan’s performances within the same frame, and the results are fantastic. The vampires look excellent too, from the sinister glow in their eyes to their teeth. They look unique in their own way and the practical make up and gore effects were handled very well.
The sound design is effective in subtle ways by briefly altering the soundscape in select moments. This is used to create a flashback through sound minus the visuals. The audio is layered behind the dialogue to expand upon some of the memories the characters are reflecting on. It’s an inventive technique that amplifies the spiritual nature of the film whilst providing more depth to those moments, without having to cut away from the present scene.
Sinners is a special film. It’s an epic hybrid of genres such as western, horror, gangster and romance, with music being an intrinsic aspect that adds thematic depth and makes it feel unique. The ensemble cast are fantastic, Ludwig’s score is deeply moving and Ryan Coogler delivers what may become his magnum opus.
★ ★ ★ ★ ★
This review was written by Terrelle Graham.
Sinners. Starring Michael B. Jordan, Hailee Steinfield, Miles Caton, Wunmi Mosaku, Jack O’ Connell, Jayme Lawson, Omar Miller and Delroy Lindo. Directed by Ryan Coogler. Runtime 138 minutes.