Since his 2013 debut, American filmmaker Ryan Coogler has quietly made his name in Hollywood as both writer and director. All the while, he has fostered long standing collaborations with key Hollywood talent such as Michael B. Jordan and composer Ludwig Göransson. In only his fifth directorial film, he finally sets his eye on a more daring project – his first original feature.
Sinners is set in Jim Crow Mississippi, where twin brothers Smoke and Stack (both Jordan) set out to open up their own juke joint with their young cousin, aspiring musician Sammie “Preacher Boy” Moore (Miles Caton). But as the night falls and the music and booze begin to flow, they attract the wrong attention – a group of vampires led by Irish immigrant Remmick (Jack O’Connell).
In recent years, the use of vampirism as an allegory for racism in the Deep South across popular media. Charlene Harris’ Vampire Chronicles – and its TV adaptation True Blood – blended vampire lore within the social tensions of present-day Louisiana that not only involved racism but also homophobia. More recently, the colourblind casting in the AMC adaptation of Anne Rice’s Interview with the Vampire added another layer of social prejudice via the now African-American Louis de Pointe du Lac and his “daughter” Claudia. But in Coogler’s latest, the racial segregation amid the local community is clear – people of colour focus on making a living while land and slave owners mainly comprise White people whose greed feeds their unrepentant nature. Needless to say, the general apprehension is clear from the outset in Coogler’s film.
In Sinners, vampirism is more than evil personified as there is an underlying theme of blood ties among the characters. Aside from having a close relationship, twin brothers Smoke and Stack share fraught feelings about their father and are protective of their family, which includes Sammie, Smoke’s estranged wife Annie (Wunmi Mosaku) and Stack’s ex-girlfriend Mary (Hailee Steinfeld), who is considered family despite being mixed race. This protectiveness also extends to local Asian family, the Chows (featuring Babylon‘s Li Jun Li), who support each other to the point that they are fierce when threatened. When combined, this creates a close-knit community that evokes a group survival instinct and heightens the emotional turmoil that elevates Sinners to more than a period horror film.
As for the vampires, they are chilling to watch. From Remmick to his transformed victims, Klansmen Bert (Peter Dreimanis) and Joan (Lola Kirke), they try and gain entry into the packed juke joint by sharing folk music and a false promise of “love and fellowship”, under the guise of submission and assimilation. This unsettling creepiness wonderfully reinforces the aforementioned apprehension but Coogler amps the scares with blood-splattered gore and twists that feed the film’s surprise factor.
Yet behind the vampires and social tensions, Sinners is a musical celebration. While his past filmography has reiterated that Black culture is at the heart of his work, Coogler’s entry into horror is no exception as it highlights the history of Blues music. In a powerful one-track shot that acts as a platform for the talented Caton, Sammie’s talents as a singer and guitarist inadvertently catches Remmick’s attention – a notable reference to how certain religious communities saw blues music as a sin, calling it “the devil’s music”. However, Coogler takes this opportunity to see how music brings people together, as a myriad of artists – dancers and musicians – from different cultures and generations appear in the juke joint, losing themselves in Sammie’s music and what it would later influence. The vibrancy of the scene is a sight to behold and with Göransson’s electrifying soundtrack, it is one that audiences can easily rewatch.
The power of Sinners also lies in the amazing cast. In his strongest performance to date, Jordan skilfully conveys the emotions and quirks of the composed Smoke, along with the cocky Stack. Meanwhile, O’Connell is disarming as the snarling Remmick, arrogant in his powers and the fear among his prey, as Delroy Lindo brings comic relief as musician Delta Slim. The female characters are also fantastic – from British-Nigerian Mosaku and Academy Award nominee Steinfeld to underrated Li, they all have a confidence that stems from more than just being a stereotypical love interest. Particular praise has to go to newcomer Caton and Jayme Lawson as Pearline, whose foot-stomping performance of “Pale, Pale Moon” is simply breathtaking.
As for Coogler’s vision, Sinners is a kaleidoscope of visual brilliance. Through a no-nonsense and occasionally heartfelt script, he takes the time to establish the emotional facets of his characters. By the time the sun goes down, he unleashes his creativity in not only music direction but also emotion-charged action scenes to drive the narrative to its surprise ending. Considering the emotional rollercoaster of the film’s third act, the climax may disarm audiences, but in fact, it is a poignant bookend to a cinematically beautiful piece of work.
While it is an occasionally scary horror film, the combination of engaging characters, wonderful music and creative direction marks Sinners as a firm favourite of 2025 – and sees Coogler at the top of his game.
Sinners is out in UK cinemas on 18 April.
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Director: Ryan Coogler
Stars: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, Buddy Guy, Delroy Lindo, Li Jun Li
Runtime: 137 minutes
Country: USA
