Sinners

Film: Sinners

Year: 2025

Director: Ryan Coogler

Writer: Ryan Coogler

Starring: Michael B. Jordan, Miles Caton and Haliee Steinfeld

Review:

This was a film that I’ve been wanting to see. Due to the birth of my second child, I haven’t had the time to go to the theater like I used to. The buzz for this made me excited. It also leads to something being spoiled for me. Not enough to ruin it, I did want to say that. I heard there was a sequence in particular that needed to be viewed on the big screen. Thankfully, things aligned allowing me to catch this before it left the Gateway Film Center. This was a featured 2025 review. I’ve also given it a rewatch, with my wife, on a 4K that I received for Christmas.

Synopsis: trying to leave their troubled lives behind, twin brothers return to their hometown to start again, only to discover that even great evil is waiting to welcome them back.

We start this off near the end. I will jump in here that I don’t love when movies use this troupe. What I’ll say is that we see a character who is clutching a guitar neck tightly. It then informs us that we’re jumping back the day prior to show what led to this. Sammie Moore (Miles Caton) finishes up his work as the sun rises. He is the son of a preacher, Jedidah (Saul Williams). He doesn’t approve of what his son is planning on doing that night. He wants him to help with the sermon the next morning. Sammie agrees but he’s still leaving for the night.

The reason his father worries is that his cousins are back in town, Smoke and Stack (both played by Michael B. Jordan). They bought a former mill from Hogwood (Dave Maldondo) to turn into a nightclub. The brothers left when they were younger, fought in World War I and then once back in the United States, worked with gangsters like Al Capone. They decided to get out of that racket to come home. The brothers split up, one taking Sammie who they call Preacher Boy to get everything ready.

The brothers split up. Smoke enlists the help of Grace (Li Jun Li) and Bo Chow (Yao) for food and a sign. Delta Slim (Delroy Lindo) is hired to play music while Cornbread (Omar Benson Miller) provides security. Smoke visits his former lover, Annie (Wunmi Mosaku), to cook and reconcile after abandoning her following the loss of their child. Stack faces a complication when Mary (Hailee Steinfeld), an old acquaintance and his brother's, returns, upset they missed her mother's funeral, who seemed to have cared for the boys growing up.

There’s an even darker cloud in the area. Remmick (Jack O’Connell) is chased by Choctaw American Indians. He finds aid with Bert (Peter Dreimanis) and Joan (Lola Kirke). They’re members of the Ku Klux Klan. This couple doesn’t realize that the person they’ve given sanctuary to is much worse. The only other person to introduce is Pearline (Jayme Lawson), who is a married woman that catches Sammie’s eye. She also comes to the Juke Joint for the night.

Where I’ll end my recap is by bringing up something from the very beginning. We learn that there are artists who transcend time with their music or dancing. This is beautiful to hear, but it also draws evil spirits. Preacher Boy has this talent. This draws Remmick and his new cohorts for a night that will change everyone’s lives forever.

Now that I’ve set this up, let’s delve into what we’re getting here. Before seeing this, I read in passing different things. I won’t spoil this film if you haven’t seen it yet, but what I’ll say is that I get vibes of a film that I used to watch regularly on the movie channels. We’re getting a period drama that turns into a creature feature. That’s all I’ll say. I’ve heard people questioning if this is horror. It definitely is. What it does great though is setting up these characters, their plight and then going even darker, in more than one way, as they survive the night. That aspect of this, I love.

Starting with the setting, the story is set in the 1930s South post-slavery, yet life remains similar. Characters like Sammie and Cornbread work on plantations, essentially indentured servitude, paid with store credit. This is revealed at the twins' joint. Stack accepts the credits for the opening, but Smoke predicts it will fail, tying into capitalism. I understand both the need for hardworking people to relax and the exploitation aspect.

Ryan Coogler's film effectively explores deep-seated, though not subtle, racism without being heavy-handed. Racism is evident when the twins call Hogwood a Klan member. The couple sheltering Remmick are members (Bert is the nephew), and the twins fear interruption at their Black-owned blues club. Clear segregation exists: only Black patrons (Chows and Mary excluded) are allowed, making Cornbread's refusal to admit Remmick's crew reasonable. This segregation, while protective, is a significant element.

Shifting to the horror: I won't spoil what this trio is, but it's likely known, possibly influenced by a late 90s movie featuring the same creature. The story follows Chicago criminals returning home with stolen goods. As the night progresses, it transitions into horror, in multiple ways, which I appreciated. The intriguing role of music also sets this apart, often my issue with this subgenre. This is definitely a genre film.

My second viewing highlighted unaddressed themes. Religion, specifically, is key: Sammie is a preacher's son who resists his father Jedidiah's call to abandon a life with "sinners." Their names are biblical along with the twins’, Elias and Elijah. The story is set against the backdrop of the Jim Crow era, and the monster serves as an allegory for oppression and colonialism. Remmick alludes to a traumatic youth event (likely involving the British); his "gift" is a curse he uses to seek freedom for others.

The twins seek to establish a community haven for relaxation, valuing the strength of belonging, yet acknowledging its fragility under adversity. The power of music is also central, offering wisdom, connecting generations, and serving as a means to break cycles of generational trauma. Jordan plays the twins, illustrating how similar traumas manifest in different personalities.

I want to focus on filmmaking. A friend recommended a sequence demanding a theater viewing. I knew what it was as it started as it shows how exceptional musical talent transcends time. This is shown through Preacher Boy's performance, featuring diverse global dancers (Native African, futuristic DJ, rock guitarist, twerking women, and Asian dancers). The cinematography was captivating, overcoming initial cheesiness through masterful execution. The deliberate exclusion of white artists served as effective social commentary. It also foreshadows the coming horrors.

I’m going to break away from that to say that the effects of the creature were good. I liked the blood that we got. It wasn’t over the top. There is CGI that went into that, I’m sure. It doesn’t ruin this in the slightest way though. I’ll also include here that the use of music was great. It captures the vibe while also building atmosphere and was used as well as you could. The mid and post credit scenes add to this as well.

All that is left then is acting performances. This might be the best performance that I’ve seen from Jordan. He’s a good actor and I’ve liked everything that he’s done. His portrayal of these two characters was on point. They’re similar while still being different. Credit to him. Caton was solid here as well. His voice was amazing when he got to sing. This is a solid, adult role to see Steinfeld in. Mosaku also rounds out this crew. I liked O'Connell as our villain. There is a charisma that just fits what his role needed. The surrounding cast of Lindo, Miller, Lawson, Li, Yao, Kirke, Dreimanis and anyone I haven’t named rounded this out for what was needed.

In conclusion, this stands as a powerful and highly original genre film, skillfully blending a compelling 1930s period drama with a truly sinister creature feature. Coogler masterfully uses the horror elements as an allegory for deeply entrenched societal oppression and generational trauma, while celebrating the resilience found in community, culture, and the transcendent power of music. Anchored by phenomenal dual performances from Jordan and a talented supporting cast, and featuring a must-see cinematic musical sequence, this film is far more than just a horror flick—it is a poignant, thrilling, and ultimately unforgettable cinematic experience.

My Rating: 10 out of 10