2025's Sinners sees writer-director Ryan Coogler tackling a wholly original story after his forays into the Marvel Cinematic Universe (Black Panther and its sequel), the Rocky series (2015's Creed), and true stories (2013's Fruitvale Station). A wildly ambitious, genre-bending masterpiece that deserves to be viewed on the biggest screen possible, Sinners is Coogler's best work, boasting superb aesthetics, top-notch technical execution, and a superlative, evocative soundtrack. The picture also represents an extremely rare specimen in contemporary cinema, as it's a big-budget, R-rated, original movie without a star-laden cast or large-scale action sequences. Don't sleep on this movie - it deserves box office success and a wide audience, especially since online commentators frequently point out Hollywood's tendency to almost exclusively produce sequels, reboots, and comic book adaptations.
In 1932, identical twin brothers Smoke (Michael B. Jordan) and Stack (also Jordan) return to Mississippi after spending several years working for Al Capone in Chicago. Arriving with ample money, the brothers purchase a sawmill with plans to transform it into a juke joint for the local African American community. Turning to their friends and connections to assemble the staff, they recruit pianist Delta Slim (Delroy Lindo), singer Pearline (Jayme Lawson), and their cousin, a talented aspiring guitarist named Sammie (Miles Caton), to perform live music for the patrons. Chinese shopkeepers Grace (Li Jun Li) and Bo (Yao) join the staff to take care of the establishment's supplies, while Smoke's estranged wife, Annie (Wunmi Mosaku), comes onboard as a cook. In the lead-up to opening night, Stack also reconnects with his former lover, Mary (Hailee Steinfeld), who wants to support the endeavour. However, the upbeat opening night of music and drinking is interrupted by the arrival of an Irish-immigrant vampire, Remmick (Jack O'Connell), who hopes for an opportunity to feed on unsuspecting patrons.
Story and character are not always the primary concern of a horror movie, but the horror elements are secondary in Sinners. Coogler spends the film's first two acts developing the characters and establishing the world, making a compelling period drama instead of something more disposable. Coogler immerses the narrative in the culture of the people and the period, and the resulting illusion feels wholly authentic, rather than forced or manufactured. The dialogue carries an engaging lyricism, and the movie does not take the characters for fools once they discover that vampires are hunting them. Indeed, the characters are aware of vampire lore and begin preparing themselves for an assault, including collecting garlic juice, wooden stakes, and silver, and being careful not to invite any vampires inside. Sinners runs a beefy 137 minutes, but it doesn't feel like homework as Coogler packs the picture with endless pleasures, including the exceptional music and a smattering of humour to ensure the tone is not dour.
The superlative technical presentation of Sinners significantly elevates the picture, as it doesn't look like a run-of-the-mill studio blockbuster. Cinematographer Autumn Durald Arkapaw (Black Panther: Wakanda Forever) captured the film on 65mm using IMAX 15-perf and Ultra Panavision cameras, and the result is a visual marvel. The aesthetics are flawless, from the location shooting and authentic-looking sets to the period costumes and seamless special effects. One of the most impressive achievements is putting Smoke and Stack in the same shot, alongside each other, and having them physically interact, including when they engage in a fight. Coogler acquits himself admirably with the various action sequences, staging set pieces that are more grounded and exciting compared to his work on the Black Panther movies. Since the director allows us to become acquainted with the central characters, the climactic showdown with the undead is all the more intense and gripping. The ferocity of the vampires also gives the picture genuine thrills. Since Sinners carries an R-rating, Coogler does not hold back on the gore or bloodshed - the violence is hard-hitting, giving the set pieces a thrilling edge, but the director still thankfully shows appropriate restraint and tact.
The real star of Sinners is the music, with Coogler recruiting frequent collaborator Ludwig Göransson (who worked with his wife, Serena Göransson) to compose the bluesy, atmospheric original score. The soundtrack evocatively captures the time and place, while an array of blues musicians also contribute a terrific selection of original songs to further enhance the film's flavour. Furthermore, Sinners features an excellent ensemble cast, with Coogler bringing in the always reliable and charismatic Michael B. Jordan to play brothers Smoke and Stack. It's a perfect role for Jordan, who brings gravitas and charm to the tricky double act, while adding subtle nuances to distinguish Smoke and Stack from each other. A robust supporting cast surrounds Jordan, with the extraordinary Wunmi Mosaku making the biggest impression as Annie, who has a strong connection to hoodoo and gives the film a strong sense of culture. Meanwhile, Hailee Steinfeld makes a terrific impression as the spunky Mary and even contributes the original song "Dangerous" to the soundtrack. On that note, several actors perform songs throughout the movie, including Jack O'Connell and Jayme Lawson, and much of the singing was reportedly recorded on set instead of being dubbed in later. O'Connell has great fun playing the central vampire, hamming it up without compromising the film's tone.
One of 2025's best movies, Sinners merges engrossing period storytelling with badass vampire action and toe-tapping music, demonstrating that Coogler has not lost his mojo despite the disappointment of Black Panther: Wakanda Forever in 2022. The way the film switches genres in the third act is genuinely effective, with the introduction of vampires feeling reminiscent of From Dusk Till Dawn, and the climactic action scenes do not cheapen the story. Admittedly, an additional shootout involving the (deserved) massacre of KKK members feels like fantasy wish fulfilment, but it is satisfying and well-executed. Be sure to stick around once the film ends, as there are additional scenes both during and after the credits that provide further closure to the story and an extra musical performance.
8.7/10