Film Review: Sinners

By Dwight Brown
Film Critic

Is it possible to admire the artistry of a movie more than the movie itself? Yes!

As a writer/director Ryan Coogler has had a storied career. From his first, well lauded and socially coconscious film Fruitvale Station, to the globally popular Black Panther superhero series and two chapters of the sports drama Creed – he’s cemented his place in film history. He knows how to pick projects, create a winner and garner critical acclaim.

As Coogler digs into the horror genre, he brings an enviable behind-the-camera production crew whose talents are formidable: Cinematographer Autumn Durald Arkapaw (Black Panther: Wakanda Forever), production designer Hannah Beachler (Oscar®-winner Black Panther), composer Ludwig Göransson (Oscar® winner Black Panther) and costume designer Ruth E. Carter (Oscar® winner Black Panther and Black Panther: Wakanda Forever). If you’re going to go into battle and tackling a new genre, captaining this kind of A-team assures that the visuals and sounds will dazzle, and they do. The rest is up to the script, direction and acting.

Twin brothers Smoke and Stack (Michael B. Jordan) return to their rural, southern hometown of Clarksdale, Mississippi after fighting in WWI and living the gangland life in Chicago. They’ve got big ambitions, a truck full of booze, guns and lots of money to spread around. They buy a building from an old white racist man (David Maldonado) to open up a juke joint. As they go about their business, they reconnect with their much younger teen cousin, Sammie (Miles Caton), the son of a preacher man, who fancies himself to be a singer/guitarist. Then the twins convince Delta Slim (Delroy Lindo), a local blues singer legend, to perform at their saloon on the grand opening night. An occasion that will attract the locals who are craving entertainment.

The brothers don’t know that an evil vampire, Remmick (Jack O’Connell, ’71), is out seeking converts he can drag over to the dark side. His demonic eyes are glaring at the twins’ new party hall, like it’s a coop full of chickens ready for the fox’s slaughter. The brothers aren’t aware: “I ain’t ever seen no demons. No Ghosts. No magic …”

It’s a viable premise for a genre film, but the script and direction have far bigger things in mind than just a run-of-the-mill fright fest. Ambitiously, or over ambitiously, the narrative takes on racism, history, African heritage, Black life in the 1930s segregated South and spiritual aspects, too. In one evocative dance scene in the nightclub, a la Ernie Gaines’ iconic painting “Sugar Shack,” the blues music gets folks dancing in a joyous frenzy. Then it evokes images of Africans dancing, making the connection to the past. Then it adds in funk music masters from the future, similar to a Sly Stone or Rick James, to further the linkage factor. Thought-provoking, or overkill?

Lindo builds and embodies the spirit of Howlin’ Wolf, Robert Johnson and Muddy Waters very well as Slim. Gotta love the legendary blues guitarist Buddy Guy’s cameo. Yao and Li Jun Li fit in nicely as the store owners Bo and Grace. When Wunmi Mosaku (Deadpool and Wolverine) gives Annie, Smokes ladyfriend, a spiritual, shaman like presence it resonates. As Omar Benson Miller (8 Mile) buffoons his way through the character Cornbread, the security guard, he perfectly blends bumbling idiot and warm-hearted man. If you think Hailee Steinfeld (True Grit), who plays Mary the temptress who confronts Stack the Gigolo, is the chocolate-loving Kim Kardasian of the times, you’re not alone. Miles Caton, with far less experience than other cast members, renders a confident and complex portrayal of the most innocent protagonist in the bunch.

Respect the historical elements, dazzling imagery, audio effects, skilled direction and strong performances.