Ryan Coogler’s latest cinematic endeavour offers a fresh perspective on the traditional vampire narrative by transforming the mythical creatures into symbols of assimilation, ever yearning for the life essence of others. Sinners is an intriguing blend of an American South folkloric yarn and a time defying Delta Blues musical that pushes the boundaries of genre expectations with creative flair. If we ever need any more proof that Coogler is an absolute genius, look no further than Sinners.
At the heart of the tale is Michael B. Jordan, who delivers compelling performances as twin brothers, Smoke and Stack. They return to their hometown Clarksdale, Mississippi after years of military service and involvement with gangsters in Chicago, aiming to establish a juke joint. Their charismatic exterior belies the intense, watchful demeanour of men who are no strangers to life-and-death stakes.
Joining them is their cousin, ‘Preacher Boy’ Sammie, portrayed by newcomer Miles Caton. Despite his youth, Sammie’s prodigious talent as a blues musician is remarkable. He adores Smoke and Stack and yearns to make it as a blues musician outside of his father’s small ministry. Other supporting characters include Smoke’s former partner, Annie (Wunmi Mosaku), who is as much a culinary expert as she is a Hoodoo practitioner, well-versed in supernatural knowledge; and Stack’s former love, the white-passing Mary (Hailee Steinfeld), who still grapples with the end of their relationship. The esteemed actor Delroy Lindo plays the grizzled and drunken Bluesman Delta Slim.
The narrative takes a darker turn with the arrival of the vampires, led by Jack O’Connell’s centuries old Irish bard Remmick. Remmick’s Irish jig provides an unusual and noteworthy moment in vampire cinema. The character’s efforts to make sympathetic his predatory nature as a result of his own victimhood at the hands of the ‘Apostle of Ireland’ fall somewhat flat; primarily because he engages in a similar form of exploitation.
Unlike conventional horror films, Coogler does not rush into the action. The first 30 minutes use the time to tell us about the characters and their motivations before jumping into the core of the story. It’s in this way that the film feels very reminiscent of a prestigious HBO drama like Lovecraft Country, another slow burn tale of the Jim Crow era in the deep south woven into a tale of supernatural monsters. Coogler meticulously constructs a world shadowed by the legacy of slavery in a setting where plantation life is not just a historical but a current reality, with sharecroppers often paid in chits rather than real currency. Rumours circulate about the racist affiliations of the man selling the twins their venue, adding another layer to the critique of diaspora survival. While slavery has officially been outlawed, the lingering aftereffects and attitudes of the community around permeate the air in the film, tactile with vast cotton fields and washerwoman buckets.
Music emerges as the central theme, representing solace and an intergenerational connection across eras, which Coogler poignantly captures. A particularly mesmerising scene underscores how music can serve as a refuge amid an oppressive society. It unabashedly shows that there is a mystical truth telling in music that can connect the past, present and future in an incredible and pulsating merging of rhythms and styles. Yet, this cultural richness comes with risks, as individuals with rare talents face the threat of exploitation by malevolent forces. Coogler employs innovative techniques to convey this theme, using Ludwig Göransson’s blues-infused score effectively. He presents narratives solely through sound, creating a powerful, albeit initially disorienting, auditory experience. A tale is not only narrated, but also heard in recreation. Sound becomes vision.
The climax of the film is a sensory overload of intensity, with the narrative culminating in a crescendo of blood, violence, and retribution. Although some characters receive limited development due to this narrative push, the overall impact is undeniable. Such innovation and defiance of standard cinematic conventions secure the film’s status as a masterpiece.
Sinners expertly challenges traditional storytelling and genre norms, creating an indelibly original and audio visually stunning piece of cinema. For those eager to witness a gripping tale interwoven with Black cultural identity and unexpected twists on traditional cinematic vampire lore, this film is an experience not to be missed.
