When one of the main characters of Ryan Coogler’s genre-defying film “Sinners” burst into a Clarksville, Mississippi church and interrupted their Sunday service, he looked exactly like the literal hell he had been through the night before.
Coogler’s gifts as a multisensory storyteller meant that even when the film lagged, viewers were too stimulated to fully resign to boredom.
He stood there at a crossroads. His presence was a metaphor for what Black men of the Jim Crow South and their ancestors did better than just about any group in the history of human civilization. They endured. Sometimes that included finding a way to survive. Other times it meant suffering the unimaginable while forging a path towards survival for others in the name of generational liberation– even if the toll was self-sacrifice.
An immensely talented aspiring blues musician who saw the greatest evening of his life spiral into a haunting nightmare in Coogler’s highly anticipated fifth feature film was a prime example of both.
“Sinners” – which landed in theaters nationwide on Good Friday, of all days – is four films ambitiously rolled into one. There is the period piece that illustrates Black life one generation into the Great Migration. It is underscored by the musical genre invented as a refuge for the rage, frustration, turmoil and heartbreak that came with living under constant torment of uninterrupted racial terror and oppression. There is the romantic drama that features relationships plagued by complicated histories. Coogler also weaved a coming of age story element into the film. But the main attraction of “Sinners” is its racially compelled horror component.
“Sinners” is packed with symbolism that feels prophetic when one considers the current political climate. The major inciting incident is sparked by a willingness of a white couple to trust the lies of someone who looks like them instead of heeding the sage warning of strangers who don’t share their cultural connection. Then there is a culminating scene when a small diverse group who have been othered in society bravely square up together in the name of fighting evil.
Moments and situations within “Sinners” tarry on longer than they need to – and the film is about a half-hour longer than it should have been. This is most noticeable – and most surprising – during the bonus scenes hidden within the end credits. But aside from those, the blood and gore get underway just as frustration and angst kick in about when the terror will start – and does not disappoint.
Coogler’s gifts as a multisensory storyteller meant that even when the film lagged, viewers were too stimulated to fully resign to boredom. In addition to the sweeping visuals, he employed cutting edge techniques such as audio driven flashbacks.
Coupled with a cast that delivers career-defining performances – from the film’s star Michael B. Jordan to the supporting cast – the flaws of “Sinners” pale in comparison to the cinematic experience the film provides.
Michael B. Jordan stars as twin brothers Smoke and Stack. They returned to their hometown of Clarksdale in 1932. They survived the World War. They also survived gangland activities that caused Chicago to resemble European battlefields as Irish and Italian organized crime syndicates bloodied the streets in order to grab lucrative bootlegging spoils during Prohibition.
Jordan has been a central character or leading man in every one of Coogler’s films. And his “Sinners” performance exclaims why. His portrayal of the twins is easily Jordan’s best work on screen. His intention to give each character a personality by way of subtle nuances – while selling the idea of a bond stronger than life itself – deserves to be in the next awards season conversation. Every single actor – even those without speaking lines – understood the assignment for “Sinners.” Along with Jordan, this is especially true with longtime Spike Lee muse Delroy Lindo. Screen veteran Omar Miller, Wunmi Mosaku, Jayme Lawson, Hailee Stanfield, Li Jun Li and Jack O’Connell were a captivating ensemble.
And thanks to “Sinners” the often unsung screen veteran Lindo remains unmatched in extracting performances from his costars that they might not have been aware they were capable of. This is especially evident in his exchanges with newcomer Miles Caton. He is already receiving emerging star acclaim with his first feature film role.
And blues icon Buddy Guy was a pleasant on-screen surprise for a film that was groundbreaking in that it was as much a token of endearment as it was a scary movie.
“Sinners” pays homage to the Black men who boldly left the south and Jim Crow with the notion of creating conditions for their families to thrive – men who were historically represented on film as tokens, servants or the lowest stereotypes during the time period. Coogler gives them the credit they deserve for changing the urban landscape of America – and bringing the blues with them as their own housewarming gift.
“Sinners” is open in theaters nationwide. The film is rated R with a running time of 137 minutes.
Ryan Coogler’s anticipated horror drama ‘Sinners’ is now open in theaters nationwide.