Sinners Review: Ryan Coogler’s Most Ambitious Movie Yet Hits More Than It Misses

by

In a recent conversation led by basketball icon LeBron James, filmmaker Ryan Coogler described his upcoming film, titled “Sinners,” as his most intimate creation thus far. At first glance, it appears to be a large-scale blockbuster designed to entertain the masses, similar to popcorn movies. However, unlike his earlier works such as “Fruitvale Station,” which was based on a true story, or his subsequent films that were adaptations of existing intellectual properties like “Creed” and “Black Panther” within the Marvel Cinematic Universe, this new project is entirely Coogler’s own creation. It offers viewers a unique opportunity to witness the true essence of a “Ryan Coogler” film without the constraints of working on someone else’s vision.

Sinners” is essentially a blend of genres: it resembles a 1930s gangster movie, has elements of Western films, and carries overtones of horror, particularly vampire-themed. Over time, it may be recognized as one of the greatest vampire movies ever made. It’s also a blockbuster film that’s enjoyable for a wide audience, similar to a popcorn flick. Despite this, there are deeper, thought-provoking themes beneath its surface, demonstrating that filmmakers can create significant and impactful stories within the constraints of the modern studio system without compromising their artistic integrity.

The movie is an enormous production, and its impact on popular culture is expected to last for a long time. However, some of its larger elements don’t quite hit the mark, hinting that a film can strive to accomplish too much simultaneously.

Who are these Sinners anyway?

In “Sinners,” Michael B. Jordan, a regular collaborator with Ryan Coogler, takes on the roles of twin con-artists Smoke and Stack. These characters seem like a blend of Jimmy and Jey Uso from the WWE, mixed with characters from an old VHS tape of “Harlem Nights.” After serving their country and successfully executing a heist in Chicago under Al Capone’s rule, these Mississippi natives return home to establish a juke joint. Their aim is to create a space for themselves within this world.

Purchasing a piece of land and an old mill, transforming it into a venue filled with alcohol, fried fish, and blues music might appear as an easy business venture, but for these two men and their motley crew of associates working to bring the project to fruition, it represents something more profound.

They seek assistance from their youthful relative Sammie (Miles Caton), an admiring blues guitarist yearning to abandon the Delta for a musical career. However, they advise him that although Chicago is geographically far from the Jim Crow South, it still retains the same segregation and limitations – only with taller structures.

The movie divides its scenes between daytime and nighttime throughout the 24-hour duration, as the siblings separately gather their old acquaintances for the opening ceremony while it’s still light outside. Once darkness descends, and the vintage mill attracts new patrons, the ominous evil lurking at the edges becomes apparent during the initial act, causing a chain of events that take a terrifying turn. Although I won’t delve into specifics to avoid spoilers, the movie appears to draw inspiration from various sources, including Quentin Tarantino’s “From Dusk Til Dawn,” John Carpenter’s “The Thing,” and numerous early 20th-century crime films and westerns.

As the movie smoothly transitions between its varying moods, some genres don’t blend as harmoniously as expected. When the film pauses – which happens quite often – the more subtle dramatic scenes, such as Smoke and his former partner Annie (Wunmi Mosaku) reflecting on their deceased child, are both poignant and captivating. In between hints of what’s to come and suspenseful moments that linger like sudden shocks or lingering fear, the movie is just as tense and unnerving as any contemporary horror production.

By the time we reach the fireworks factory as directed by Coogler, his proven action skills take over, but even Jordan’s fight techniques from the “Creed” series struggle a bit to overcome the feeling that “Sinners” has taken on more than it can handle. The peak moments will thrill and excite the audience when needed, yet there’s an unsettling sense that something is amiss.

The emancipation of Ryan Coogler

When examining the diverse array of influences and styles in this movie, it’s clear why Quentin Tarantino’s impact is so noticeable. The filmmaker, Ryan Coogler, has admitted drawing inspiration from Christopher Nolan, particularly with regard to visual detail and image composition. This focus on meticulous visual elements gives the film a distinct, instantly recognizable quality. However, in terms of blending different genres flawlessly into a cohesive whole, Coogler might have learned something from Tarantino’s approach. Each director is essentially a blend of their influences and childhood viewing experiences, but Tarantino has managed to create a unique, signature style from his mash-up of cultures.

In his initial foray into a similar style of storytelling, Ryan Coogler is still figuring out his unique voice. As his confidence grows, his distinctive viewpoint should be enough to tie together the diverse aspects. However, in this instance, he heavily relies on music as the unifying factor, essentially paying tribute to his late uncle’s passion for blues music. At times, the music fits perfectly, enhancing the pop culture stew he’s creating. But in the latter part of the film, Coogler takes significant risks with the musical aspects of the story, and these risks have varying outcomes, sometimes detracting from other elements that are effective.

It’s tough not to admire such a talented director for his drive, especially since he seems to be breaking away from the constraints of mainstream studio filmmaking and creating something uniquely his own. Interestingly, this movie features multiple sexual scenes, which are typically confined to art-house cinema. Yet, it maintains an unusual sense of modesty in these instances; a disheartening indication that we’re watching a hard R-rated film crafted by someone who usually works within PG-13 boundaries. Despite this, there’s an undeniable sense of innovation at the start.

Even though “Black Panther” was one of the few cultural phenomena of the past decade, during production Ryan Coogler wasn’t sure he would endure the film’s intense pressure. Unlike directors such as Jon Watts and the Russo Brothers, we now have evidence – albeit imperfect – that one can emerge unscathed from that creative rollercoaster with their intellect and individuality intact. Compared to the high expectations and buzz surrounding it, “Sinners” might disappoint some viewers. However, place it alongside movies like “Wolfs” or “Cherry,” and it seems like a testament to an afterlife that makes the fear of failure vanish into a puff of smoke. In essence, “Sinners” is impressive and captivating, so it’s understandable if some of its more peculiar decisions don’t resonate as intended.

“Sinners” hits theaters on April 18.

Read More

2025-04-15 22:30