Ryan Coogler delivers his best film to date making a near perfect film with only a couple of hiccups in ‘Sinners’ out on Good Friday from Warner Bros.
Having screened at the Orange County Film Society, Ryan Coogler, the visionary writer and director behind ‘Black Panther‘ and ‘Creed‘, delivers his greatest picture yet with ‘Sinners‘.
‘Sinners‘ is a Southern Gothic, vampire film, full of West African customs blended with Tent Revival Christianity, showing the foundations of Black-American culture that still influence customs long lost, yet engrained within a community.
Michael B. Jordan giving a tremendous performance in a dual role of mobsters the Smoke-Stack Bros., Marcus “Stack” and Elijah “Smoke”, two men returning home to the South after spending time in Chicago to deal with the devil they know during Prohibition and Jim Crowe. Jordan is embodies each brother with distinct performances. Typically when an actor plays twins, there is very little differentiation between both roles, making it nothing more than a dramatic rendition of, ‘The Parent Trap‘, however, Jordan’s talent proves he is capable in being his own co-star.
The supporting cast is equally phenomenal. Hailee Steinfeld is terrific as Mary, a childhood friend and lover of Stack, that proves in the worst of circumstances, love never dies. Jack O’Connell burns with menace and malice as Remmick, our head vampire who is initially hunted by Native Americans, only to turn his White hosts upon their departure. Wunmi Mosaku is amazing as Annie the voodoo priestess and mother of Smoke’s late child, casting white magic spells to protect him against all evils. Jayme Lawson’s Pearline, the married songstress seduced by the stage, beautifully encapsulates passion and lust. Omar Miller’s Cornbread is wonderful edition the cast, in his loyalty to his friends and the legendary Delroy Lindo commands the screen as Blues local legend Delta Slim.
However, the real showstopper is Miles Caton, who makes his debut as Sammie “Preacherboy”, the younger cousin of the Smoke-Stack Bros. and is able to make his guitar sing to the point of attracting the souls of his ancestors and descendants converging in one singular, spiritual moment. Caton is a star in the making as his performance steals every moment from his veteran counterparts. All eyes should be focused on what is next for this young actor.
What some may overlook is that each character in the film subtly embodies one of the seven deadly sins—lust, greed, envy, gluttony, pride, sloth, and wrath. The Christian symbolism runs deep, most strikingly in the scene where Remmick attempts to transform Preacherboy into a vampire. As he mocks baptism and recites a haunting version of the Lord’s Prayer, it becomes chillingly clear: the demons believe in Christ.
What’s beautifully rendered is that even in redemption, Preacherboy cannot fully sever himself from sin. Fleeing the sermons of his father, Pastor Jedidiah (Saul Williams), he journeys to Chicago not to cleanse himself, but to chase legacy as a blues musician. His salvation is lost in chasing his passions. In fact, every character within ‘Sinners‘ represents the Seven Deadly Sins of pride, greed, wrath, envy, lust, gluttony, and sloth.
Yet, for all its brilliance, the film stumbles in a few noticeable ways. A fire that should have consumed an entire building mysteriously spares it, breaking the suspension of disbelief. And in a jarring inconsistency, vampires who are supposedly repelled by sacred symbols, casually dons a gold necklace bearing Christ’s face as we meet the elder Preacherboy.
One of ‘Sinners‘ closing moments, while powerful and specific for a Black audience, would have landed better as a mid-credit sequence. From a narrative perspective, it disrupts the rhythm and emotional arc of the ending. As someone who awaits the final genocide film I will ever see in, ‘Road to Urmi‘, a chronicle of my people’s survival, I understand the desire for vengeance of one’s oppressors. But as an audience member, I felt that one scene dulled the edge of an otherwise masterful story, one that will be dissected in film studies classrooms for generations.
From the first frame to the last shot, ‘Sinners‘ is an audiovisual success. Filmed entirely on IMAX 15/65mm film, virtually every moment is rich with cinematic texture thanks to the stunning eye of cinematographer Autumn Durald Arkapaw. The production design by Oscar-winner Hannah Beachler is immersive, transporting us to 1920s Mississippi, bringing the town’s decaying beauty to vivid life. Add in Ludwig Göransson’s soul-shaking score and Ruth E. Carter’s iconic costuming, and you have a film that doesn’t just tell a story—it possesses you.
‘Sinners‘ is far more than a genre piece. It’s a meditation on guilt, generational trauma, and the demons we inherit. The line, “You keep dancing with the devil, one day he’s gonna follow you home,” uttered by Pastor Jedidiah, isn’t just a warning—it’s a prophecy.
‘Sinners‘ seeks salvation on Good Friday, April 18, 2025.
Summary
Ryan Coogler’s ‘Sinners‘ is a near perfect Southern Gothic vampire epic that masterfully blends West African spirituality, Tent Revival Christianity, and the deep-rooted culture of Black America to tell a haunting tale of sin, legacy, and redemption.
