'Sinners': Ryan Coogler Delivers an Astonishing, Genre-Bending Masterpiece
- Saxon Whitehead
- 2 hours ago
- 8 min read
It is always an exciting thing when a director reaches such a level of success that they are able to cash in on it and make one of their passion projects. Instances of this are a little more rare in the current studio system, but when they do occur, they often lead to either unimpeachable triumph or fascinating failure. After all, this is the moment that a director can harness their creativity and take risks that may or may not pay off with audiences. After a string of hits, director Ryan Coogler has finally arrived at this point. From his indie breakthrough Fruitvale Station, to 2015’s Creed, to the Black Panther films, Coogler’s films have garnered critical acclaim and box-office success. Not only that, but he has proven himself to be an incredibly talented and singular filmmaker in the process. The prospect of him delivering an original film, especially since most of his work is franchise based, had me intrigued and excited to see what he was going to make. However, nothing could have ever prepared me for just what Coogler delivers with Sinners. The film is a 1930s gangster film, a blues musical, and a bloody vampiric horror film all rolled up in one, and it merges these seemingly disparate styles seamlessly. It is a film that might seem like a pulpy B-movie on paper, but has layers to it that elevate it to a whole new level. Sinners is a cinematic masterpiece, and is easily Ryan Coogler’s most incredible film yet.
Down in the Mississippi Delta in 1932, twin brothers Smoke and Stack (both played by Michael B. Jordan) have returned to their hometown after spending some time up in Chicago. They plan to open up a juke joint in an old mill, and reunite with old friends and family members in order to make their dreams come true. Everything is looking good for the twins, until they are visited by a trio of vampires led by Irish immigrant Remmick (Jack O’Connell). They have been summoned to the juke joint due to the transcendent blues being played there by the twins’ cousin, Sammie (Miles Caton), an immensely talented guitarist. As Remmick’s true intentions for being there are slowly revealed, the twins and their loved ones soon find themselves forced to fight against them and protect the joint.
There is quite a bit that Coogler explores throughout the film, and yet the film never feels dense or overstuffed. Everything moves so smoothly and a lot of the deeper themes of the film are woven into the film so perfectly. It doesn’t feel the need to spell everything out for the audience, yet it has an efficient method of storytelling that makes everything clear and easy to understand. This method helps the film flow so well, as there is not a wasted moment to be found here. It keeps up its momentum for the entire runtime, and there isn’t anything in the film that feels wholly unnecessary. Coogler’s direction is so focused and to the point, blending genre conventions with a more humanistic approach to his characters. There is a level of simplicity to the overall story on paper, but it is the deeper meaning behind certain details and the way Coogler combines elements of action, musicals, and horror to create an original cinematic experience that brings his unique vision to the forefront.
The film has clear themes of cultural appropriation, largely explored through the character of Remmick and his desire to take control over the otherworldly musical abilities of Sammie and use it for his own evil purposes. But what stuck out to me the most in the film is how it explores taking control of one’s personal narrative and art. We mainly see this in the character of Sammie, as he is faced with the choice of renouncing his love for blues music to appease his father, or to follow his passion. This is the backbone of the entire movie, and so much of what it is saying stems from this one element. The ideas of cultural appropriation and controlling one’s narrative intersect in one of the film’s greatest scenes, which takes place near the halfway point. I will not spoil the scene here, but it is such a jaw-dropping expression of cultural history told through music and movement, and is easily one of Coogler’s finest moments as a filmmaker. Beyond all this, the film does an incredible job of making its characters feel so realistic and fully-formed. Everyone in the film feels so genuine and Coogler writes them in a way that feels insightful and somewhat heartfelt. There is such a humanity that flows throughout the film as a whole, and it helps lift the film up to a whole other level.
Ludwig Göransson has been a long time collaborator of Coogler’s, having scored every single one of his features. Göransson has long been a favorite composer of mine, and it feels like he only gets better and better with each film. Sinners just might be his best work to date, as he utilizes 1930s era blues so beautifully, and composes a score that fits the film’s energy so perfectly. It is the type of score that leaves you buzzing, heavily featuring the Dobro and evoking both tension and amazement in the process. Göransson’s score is an integral part of the film, and consistently blew me away.
The film also looks absolutely beautiful, with Autumn Durald Arkapaw’s cinematography playing a huge part in making it hard to tear your eyes away from the screen throughout. Arkapaw captures the Delta in stunning fashion, cultivating a visual environment that puts the viewer right alongside the characters. There is an element of naturalism at the foundation of the film, and it feels more prominent at certain moments of the film. I really appreciate the flourishes she brings to certain scenes, especially the musical sequences. There are some impressive oners as well, and Arkapaw’s camerawork really shines in the scene I alluded to earlier in this review. The editing also is key throughout the film as well, as certain cuts and moments that the film lingers on add greatly to the overall experience. It helps make the action sequences more exciting, the more emotional scenes more powerful, and the musical moments more electrifying.
Michael B. Jordan has given many great performances over the years, but I would argue that his dual performances as twins Smoke and Stack is his most nuanced work to date. He characterizes them both in a way that helps them stand apart from each other, yet he also finds a way to make their brotherly bond feel strong and genuine. Stack is definitely the showier of the two, as he is more of a smooth talker and is more charismatic. Smoke is quieter, but more prone to violence and has a simmering pain and anger to him that is so compelling. Jordan’s natural screen presence has long been one of his best assets, and that is certainly true here. But it is the details and nuances that he finds in both roles that really stood out to me. The two roles give him a chance to show his range, as he is given a lot to work with between them. It’s a bit of a challenge, but Jordan handles it with aplomb and is excellent every step of the way.
I was pleasantly surprised by Hailee Steinfeld in this film, as this is easily her best performance in years. I remember being blown away by her debut role in True Grit, but I’ve not been particularly wowed by her in anything else (save for some solid voice work in the Spider-Verse movies). When she first showed up in Sinners, I said to myself “This is what I’ve been waiting for”, as she finally is giving a performance that shows what she is truly capable of. At times, it feels like she is pulling from an older style of acting, but it is one that works so perfectly within the context of the movie. There is a seductiveness to her performance that draws the viewer in, and there are multiple line deliveries that she has that took me by surprise. This truly feels like the moment that Steinfeld is levelling up as an actor, and I hope this opens the door for her to take on more mature roles in the future.
I must also shout out Wunmi Mosaku, who is starting to become one of my favorite actors. Mosaku more than holds her own against Jordan, and the two have such a lovely romantic chemistry together. But it is the work she does in the back half of the film that really stuck with me, as you can feel the intense emotions she is experiencing so strongly in those moments. I was also glad to see Jack O’Connell in a great role again, and one that perfectly uses his more volatile tendencies as an actor. O’Connell is an actor I’ve liked ever since he was on Skins, but a lot of films seem to struggle with how to use him. This film gives him room to be a bit bigger, and it pays off nicely. Delroy Lindo is great as always, and gives one of my favorite supporting performances of the year so far. Lindo is one of my favorite actors, and it is always a gift to see him do his thing. There are so many choices that he makes throughout the movie that are so inspired, and they really give his role a distinct personality that only he can bring.
Perhaps the performance that stood out to me the most is that of Miles Caton, who plays the role of aspiring blues guitarist Sammie. I was already impressed by his work, but when I saw in the credits that this is his first film, I was gobsmacked. Caton taps into this innocent energy that plays off of the other characters so well, and the journey he goes on with Sammie is very compelling. It certainly doesn’t hurt that he does his own singing and actually plays guitar in the film, and that he is amazing at both. In the context of the film, he is supposed to be a preternaturally talented musician, and it is so easy to buy into given that Caton himself is extremely talented. This is hands down one of the best debut performances I’ve seen in years, and I think that Miles Caton has a bright future ahead of him.
Sinners is an astonishing work of cinema, with everyone involved working to the absolute best of their abilities. It is a film that is both wildly entertaining, while also having a great deal of substance that fleshes everything out and makes the film more than what it seems on paper. This is undoubtedly Ryan Coogler’s best film to date in my book, as he is operating at a level here that shows off his skill and ambition so well, while also seeing him tread new territory and tell a rather personal story in the process. I cannot recall the last time a film managed to exceed my expectations the way that Sinners did, but it stunned me at just about every turn. It sets the bar exponentially high for the rest of the year, as it is bound to be one of my favorite films of 2025, and will likely be in the conversation for the best films of the decade. This is the type of daring, original film that people have been waiting for, and it is one of the most electric moviegoing experiences I’ve ever had.