Ryan Coogler’s latest project, Sinners, takes viewers on an audacious journey that blends horror, musical elements, and a vivid historical backdrop. After the monumental success of Black Panther and Creed, Coogler has boldly invested nearly $100 million into this highly ambitious film, pushing boundaries with a unique approach that defies genre conventions.
At first glance, Sinners seems to embody the cliché of “swinging for the fences,” often used to describe risky, large-scale projects that may miss the mark. Yet, despite its oddities—ranging from period vampire lore to a blues-infused soundtrack—Coogler manages to make this blend of absurdity work, resulting in one of the most exciting mainstream films of the year.
Set in Prohibition-era Mississippi, the film introduces a period vampire narrative that doesn’t delve into the supernatural until well into the first hour. It fuses elements of the blues with unexpected genres, incorporating Funkadelic-inspired music and hip-hop DJs into a rural hoedown. The film even features two iterations of Michael B. Jordan—both embodying roles that complement each other in the ensemble.
While the film’s ambitious tone may raise eyebrows, the most controversial sequence arrives when Jack O’Connell’s vampire character, Remmick, and his fellow Celtic vampires perform a dramatic rendition of the Irish folk song Rocky Road to Dublin. Their performance, complete with Irish jigs, is undeniably jarring but adds an unexpected layer of cultural commentary.
Visually, Sinners is a feast for the eyes. Shot on 65mm film with Imax and Ultra Panavision cameras, the film’s high production values are apparent, amplifying the immersive experience.
Despite the film’s eccentricities, Coogler expertly weaves a rich, layered narrative, blending sociological, cultural, and historical themes without losing sight of its thrilling premise. The film’s slow build leads to a siege horror scenario reminiscent of Night of the Living Dead, where the stakes continue to rise, and the violence intensifies. The story follows the Smokestack twins (played by Michael B. Jordan), who return from Chicago with a plan to open a speakeasy. What begins as a musical celebration quickly spirals into chaos as vampire forces, including O’Connell’s character, infiltrate the nearby community.
The film’s complexity is not just in its eclectic soundtrack and bizarre vampire lore. Coogler’s script introduces nuanced social commentary, particularly regarding the racial dynamics between African-Americans, Irish, and Scottish communities during the era. The vampires, once primarily white, eventually adopt black converts, symbolizing a diverse underclass opposing the oppressive Klan mobocracy. This thematic exploration adds layers to the otherwise chaotic narrative.
Sinners culminates in an over-the-top, violent climax, where each massacre outdoes the last in terms of brutality. Despite the bloodshed, Coogler balances the gore with sharp, dark humor, delivering one of the film’s standout moments with a perfectly timed “It’s not what it looks like” punchline.
In the end, Sinners is a cinematic spectacle, brimming with opulent visuals, intense action, and thought-provoking themes. Coogler’s unrelenting creativity and boldness in taking risks make this film a standout. It’s a work of immense scale and ambition that deserves recognition, both for its daring narrative and for delivering first-class entertainment to a mainstream audience.
