Writer’s note: The second paragraph of this article (just below the first image) contains a basic outline of the film’s premise. However, in this film’s case, it is near impossible to unpack the film without delving into spoilers. Thus, if you want to know nothing before seeing the film, see the film first and then return to this review.
Very few directors achieve the same level of name recognition as actors. If a director does ever reach that point in their career, it’s proof of their undeniable skill, consistency, success and creativity. Filmmakers such as Quentin Tarantino, Christopher Nolan, Sofia Coppola and many others have dedicated fan bases just as passionate as any performer (maybe even more so). In recent years, few directors have achieved this status, with only a handful of names standing out, such as Greta Gerwig, or Robert Eggers. A filmmaker who has been on the cusp of becoming a household name is Ryan Coogler, the man behind such massive hits as Creed (2015) and Black Panther (2018). It’s clear from his work that he is indeed one of the best directors working today, but he has yet to release a film that puts him in the hot seat. That’s all about to change with Sinners (2025).
Set in the Mississippi Delta circa 1932, we are introduced to twin brothers Smoke and Stack (Michael B. Jordan in both roles), who have just returned home after years working for Al Capone’s infamous Chicago Outfit. Despite making plenty of money during that time, the pair still want to break free from having to work under any oppressive white men. Thus, with the money they have earned (or robbed) from gangsters, Smoke and Stack buy an old sawmill from a racist landowner, intending to turn the mill into a juke joint for the local African American community. They recruit their various companions to work and attend opening night in the joint. This includes Mary (Hailee Steinfeld), Stack’s ex-girlfriend, Delta Slim (Delroy Lindo), a popular pianist, Annie (Wunmi Mosaku), Smoke’s wife, local singer Pearline (Jayme Lawson), bouncer Cornbeard (Omar Miller), and bartenders Grace and Bo Chow (Li Jun Li and Yao). Most importantly, there is Smoke and Stack’s cousin Sammie “Preacher Boy” Moore (Miles Caton), who dreams of becoming a successful blues guitarist. However, Sammie’s preacher father warns to stay away from such music, as he believes that blues music is supernatural. This is echoed by the film’s opening narration, which suggests that when one of a kind musical talent is displayed, it can pierce the veil between the past, present and future, attracting unknown evil forces to it.
The first thing to make clear right away about Sinners is that writer/director Ryan Coogler isn’t interested in playing by the established rules of storytelling. After Black Panther and Creed, one would hope that any filmmaker in his position would take the opportunity to really push the boundaries. While that doesn’t always happen, Coogler doesn’t disappoint, as he is fully aware that this is his first chance to deliver a story completely from his imagination. Unlike his previous work, Sinners isn’t based on a comic book, pre-existing film series, or true story. This is a completely original film straight from his own mind, which would be praiseworthy even if it wasn’t a well told story. Happily, we don’t have to give pity points, as Sinners is a filmmaking masterpiece, completely succeeding with its every ambition.
With Sinners, Coogler proves that there are absolutely no boundaries between genres. Most films fit neatly into this or that category, whether that be drama, action, comedy, fantasy, musical or horror. Sinners knows no restrictions, as it completely succeeds at being all of these at once. Viewers could watch it multiple times, treating it as any one of those genres, and it would work every time. If you only want it to be a dark comedy, it works as a dark comedy. If you only watch it as a story about the Jim Crowe south, it works as a story about the Jim Crowe south. If you’re there for the tension, and horror, it gives you unabashed tension and horror. Most importantly, if you only want an analysis of the blues and it’s importance to the African American community, you will find one of the most profound analyses ever committed to film.
The music is what seamlessly ties all of these unrelated styles together. It’s no secret that blues music has its origins in African American culture, as many films, books and documentaries have unpacked how caucasian musicians appropriated the sound for caucasian audiences. Using the supernatural fantasy and horror elements, Coogler posits that this musical appropriation malevolently removes the people from their own creation, further suggesting that forced cultural eraser is tied to racial hate. As an additional theme, Coogler uses the horror elements to unpack deeper layers of racial discrimination. The full analysis is extremely complex, and even raises points that wouldn’t normally come to mind. Needless to say, many people will now think twice before they speak on behalf of a minority group not their own.
Sinners’ excellence isn’t only about its script, themes and direction. As a technical exercise, Sinners is a masterclass in editing, camerawork, production design, costuming, makeup and visual effects. Even with its meagre $90 million budget, Sinners doesn’t waste a cent, as the final product feels bigger, more exciting and more real than nearly every $200 million blockbuster. The craftsmanship is impressive for many reasons, chief among them being how every set, cut and camera move enhances every aspect of the storytelling. There are no shortage of standout moments, but a single one take shot completely fulfils the promise of seeing blues music pierce the veil between the past, present and future.
Despite Sinners being Coogler’s show, he is accompanied by an absolutely perfect cast, all delivering some of the best work of their careers. Michael B. Jordan is a revelation in his dual role as Smoke and Stack, playing both characters with charisma, edge and humanity. Each brother is unique, meaning there’s no way any viewer would get them confused. Hailee Steinfeld expertly plays against type as Mary, using the character to defy many genre expectations. Delroy Lindo as Delta Slim displays his usual eccentric charm, proving that he is still one of the best and under appreciated character actors working today. Wunmi Mosaku also makes a strong impression as Annie, a powerful and inspiring presence for every moment she’s on screen. However, the most amazing performance comes from Miles Caton as Sammie “Preacher Boy” Moore, who completely steals the show (despite this being his first ever feature film role).
From now on, Ryan Coogler will not only be a highly respected filmmaker, but he will generate passion and anticipation from his (newly acquired) legions of fans whenever his name is on a poster. If there’s any justice in Hollywood, Sinners will take its rightful place next to films like Jaws, Star Wars or The Matrix. Like those earlier classics, things may never be the same again with Sinners out in the world.
10/10
Best way to watch it: Don’t watch any trailers.
