Movie review «Sinners»

On April 17, the vampire action horror film «Sinners» was released in Ukraine, and it is the fourth time that director Ryan Coogler and actor Michael B. Jordan have worked together after «Fruitvale Station» (2013), «Creed» (2015), and «Black Panther» (2018). Some may think that this is a kind of «From Dusk Till Dawn», only set in the 1930s, but in fact this comparison does not fully characterize the novelty. Along with «Nosferatu» The film is returning the public’s interest in bloodsucker movies and has already get sky-high ratings from movie critics. In this review, we’ll find out how fair they are.

«Sinners»

Genre action, horror
Director Ryan Coogler
Starring Michael B. Jordan, Hailee Steinfeld, Miles Keaton, Jack O’Connell, Wunmi Mosaku, Jamie Lawson, Delroy Lindo, Omar Benson Miller, Lee Yun Lee, Lola Kirk, Peter Dreimanis, Saul Williams, Nathaniel Arcane, Buddy Guy
Premiere movie theaters
Year of release 2025
Website IMDb, official website

In 1932, twins Smoke and Stack Moore return to their hometown in Mississippi, where they buy an old sawmill and plan to turn it into a juke joint. The brothers have a wealth of experience behind them, including the fields of World War I and gangster activities in Chicago, perhaps even connected to Al Capone himself. But now the guys intend to settle down in their native land and focus on a new business, since they have enough money and booze to do so.

Smoke and Stack are joined by their younger cousin Sammy, who plays the guitar virtuoso and sings beautifully. Together, they bring in everyone they can — from old friends to former lovers — so that the delicious food won’t cook itself, the beer and whiskey won’t spill over, and the music won’t be played without the musicians. It seemed that the plan had worked — the former sawmill was filled to capacity that night and became a center of fun and entertainment. But in the midst of the party, uninvited guests come in, and not everyone will survive until dawn.

For director Ryan Coogler, «Sinners» has become a deeply personal project: «With this film, I have a chance to delve into the history of my ancestors here in the States», the director said in an interview. And his reputation allows him to get full creative freedom from the major Warner Bros. and about $100 million to boot, plus let’s not forget that the filmmaker is finally not tied to long-term franchises. One of the sources of inspiration for Coogler was the novel «Salem’s Lot» Stephen King. And the blues here turned not only into a vivid addition to the picture, but also into a full-fledged plot driver.

In the beginning, as they say, nothing portended trouble — the main characters confidently move toward their goal and behave like the true masters of these places. The only one who warns young Sammy that incendiary music can attract the attention of the devil himself is his father, Pastor Jedi. But who is going to listen to an old religious grouch? Basically, we’re watching cool black guys throwing a cool party (Snoop Dogg would have loved this scale) and then — the party itself — with songs, dancing, drinking, and sexual pleasures. Hence the mocking title of the movie.

But when a vampire breed, in particular the Irish immigrant vampire Remmick, visits the entertainment venue, the viewer will not only see a fierce confrontation between the living and the allegedly bloodthirsty dead. It will also be a visual representation of the struggle for one’s «me», for the preservation of the cultural code, and ultimately for freedom. Due to the inappropriate intrusion, the visitors of the juke joint literally lose themselves, literally dancing selflessly to the tune of the Irishman. To eventually die with the first rays of the sun, leaving nothing behind. And Remmick himself almost passes himself off as a savior — we’ve seen and known some of these «asvabaditels».

In «Sinners», the director skillfully pauses and does not rush to introduce the fanged vermin into the story. For the first hour, there is almost nothing to hint at the bloody bacchanalia that will unfold later. And when the viewer is sure to have doubts and thoughts like «and why, in fact, is everyone around him praising the movie?», Coogler delivers a first-class, suspenseful spectacle backed by an outstanding soundtrack.

Therefore, when the film finally moves from the plane of on-screen fun to a metaphorical struggle to preserve one’s own identity, to follow one’s inner call, it is absolutely impossible to tear yourself away from the screen. This is a truly powerful, hypnotic, extremely ambitious movie that can evoke a whole range of emotions — from bewilderment to delight. «Uncommon» — is how I would like to characterize it in the first place. That’s what makes it valuable.