Sinners
Sinners
Starring Michael B. Jordan, Miles Caton, Hailee Steinfeld, Wunmi Mosaku
Directed by Ryan Coogler
In the height of the Jim Crow Law-era south, twin brothers Smoke and Stack (Michael B. Jordan) return to their hometown to open a juke joint for the African American community that's been marginalized and mistreated. Smoke is the more professional of the two, being more endearing and having a sweet backstory with his former flame and Hoodoo practitioner Annie (Wunmi Mosaku), whom he hires for opening night to be the joint's cook. Stack, on the other hand, is the hotheaded of the two, and has a tumultuous relationship with Mary (Hailee Steinfeld) whom he left during one of her toughest times.
Before opening the joint, the brothers recruit young musical prodigy Sammie (Miles Caton), singer and the object of Sammie's desire Pearline (Jayme Lawson), and seasoned Blues player Delta Slim (Delroy Lindo) to play for the opening night. They also employ Bo (Yao) and Grace Chow (Li Jun Li) to work as suppliers, and Cornbread (Omar Benson Miller) as the bouncer. With everything set up for a great opening night, the brothers open the joint where Sammie metaphorically burns the building down with his singing, which transcends time and culture, but also lures Remmick (Jack O'Connell), a vampire, to the joint in hopes of recruiting Sammie to summon the spirits of his lost community. As the vampire threat grows outside, Smoke and his friends stage one final battle in hopes of surviving until sunrise.
There's been numerous directors and actors who've worked together on multiple projects. Tim Burton and Johnny Depp. Martin Scorsese and Leonardo DiCaprio. Martin Scorsese and Robert De Niro. Wes Anderson and Bill Murray. There's a synchronicity where the director and actor know each other so well that this trust builds upon itself to produce something truly magical that can't be rectified with a new actor. Ryan Coogler and Michael B. Jordan have such chemistry, as both started out in 2013's "Fruitvale Station" and has continued their collaborations with "Creed," "Black Panther," and "Black Panther: Wakanda Forever." With over twelve years of working together, these two have formed a bond that transcends talent, and has elevated both to the standard that "Sinners" has now set. While I still hold "Black Panther" as Coogler's finest achievement, this is a very close second without comparison.
Michael B. Jordan tackles his hardest role to date, playing not one, but two separate characters with different ideologies, personalities, and quirks, and at no time during the movie did I get confused as to who was who (unlike Robert De Niro's baffling duel role in "The Alto Knights"). Smoke is the leader of the two, the more level-headed and intelligent, while Stack is the muscle, the impulsive, and the more charismatic of the two. Jordan balances both performances like an expert tightrope walker, and gives two commanding performances for the price of one.
What sets "Sinners" apart for me is the fact that, while it's a horror movie, it doesn't lean into the horror, but allows it to occur naturally. We don't really see any vampire violence until a little over halfway into the film's 138 minute runtime, and all the time before then sets up the characters we're going to connect with later. Most horror movies would overlook these characters as stock versions of people (aka the jock, the pretty girl, the stoner, etc.), but Coogler gives each side character their own flushed out story that makes them well-rounded, but also makes them extremely personal and people you feel a deep connection with. Normally I don't consider essentially body count victims as anything more than that, but their performances and stories were so expertly flushed out I found myself deeply immersed in their stories, and when the horror hits the fan, I found myself actually mourning their losses - well, those who died anyway - as I never thought I would.
Yet the standout performer is newcomer Miles Caton who, before this movie, served as a backup singer for H.E.R. Here he plays Sammie, who's essentially the main character of the movie and whom everyone wants to either protect or turn for their own benefit. Sammie is the son of a preacher who believes Blues music is the tool of the devil, and believes if you dance too long with the devil, he'll follow you home. Sammie is torn between his love of music and faith, but the music ultimately wins out on that night as he performs a song that literally transcends time. It's the film's most stunning visual sequence, leaving my jaw metaphorically on the floor, in awe of the visual wonder and splendor I was beholding. Cinematographer Autumn Durald Arkapaw shoots the scene in one long take, with the help of two-time Oscar winning composer Ludwig Goransson and Caton's live playing. The scene is the ultimate celebration of Black music and culture, while also incorporating other musical cultures as well for those who were in attendance. This scene alone is more than worth the price of admission, and demands to be seen on the big screen and experience the full surround sound experience.
It's almost an afterthought that vampires are introduced in the movie, and honestly it almost wasn't necessary. The film more than holds its own as a tale of marginalized Black Americans being forced into labor, chain gangs, and the overarching umbrella of the KKK during the early 1930s, where community and family are valued and held above anything else, but even the vampire storyline was unique (apart from the generic vampire lore, such as not coming in uninvited, stakes through the heart, sunlight, etc.). Remmick, the leader of the vampires, wants Sammie because his music can connect him to his own spiritual ancestors, and they have their own unique music that connects them. and it's almost a dueling banjo-style war between the two. There's a lot to appreciate about this movie and Coogler's love of the Black culture and music, that the vampire element only serves as the icing on the cake.
The Score: A+
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