Sinners

*[IMAX] ** *Note: Some ideas in this review are subject to change from a rewatch Sinners is Ryan Coogler’s fifth feature film, but it’s finally his first time cashing in his blank check. After releasing his directorial debut, the true story drama Fruitvale Station, along with three franchise blockbusters in Creed and the two Black Panther films, Coogler finally gets to truly express himself with a completely original film in Sinners. Coogler has already shown expression of black culture in his past films, but he takes it to another level, making it the driving force of the entire film. Sinners stars Michael B. Jordan, who plays two roles as twins Smoke and Stack, who return back home to pay back their town and culture by opening a juke joint as a way for African Americans in the Jim Crow south to let loose and enjoy the art of dance and music amongst a nation actively oppressing them. They invite their cousin Sammie, played by first time actor Miles Caton, to help bring this juke joint to life with his musical talents. As the night rolls along, they are faced with the main conflict of the film, vampires who seek to kill and steal the culture that has brought them together. If you haven’t picked it up by now, Sinners is a film that tackles black culturalism, cultural vampirism, the oppression of African Americans in the 1930s, the power of music and art, and even some subtle hints of spirituality, specifically the different interpretations of Christianity. I believe all of these themes to be important to look at, not just for the film’s sake, but because people can relate to this film and have many different perspectives on many of the themes expressed in this monumental film. *SPOILERS* Black culturalism plays the key role for the entire story of this film. The best scene in the entire film (which also could be called “scene of the year”) is a transcendent five minute one take, that takes you through music and dance in black culture from the past, present and future. Starting with Sammie singing the blues, to the electric guitar (a nod to Jimi Hendrix and others), to record scratching hip-hop, to modern day rap, while all being surrounded by dances that range from the ‘30s to today. They literally burn the whole barn down. The scene ends in a shot of the three main antagonists looking over the barn, as they begin their hunt for Sammie’s musical talent. Oppression is, in my opinion, the main representation of the vampires in this film. Their main reason of coming to the juke joint is to have Sammie and his musical talents, that are so important to black culture. An act of cultural vampirism, wanting to steal and exploit others cultural traditions, calling it their own with no appreciation for the ones who founded it. And that’s the big question amongst the characters: Who is welcome and who isn’t? Spirituality and religion also play a role in this film, and while it’s not major, someone like myself being a Christian couldn’t help but dissect. I’ve seen many Christians who believe this film to be anti-religious, because of the evil nature of the vampires, and even a scene where the vampires recite a prayer, making people interpret that God is harmless to them. But I think they entirely missed the point. See, the use of Christianity in this film serves as another way to show the difference in ideology in the Jim Crow south. Many slave owners/KKK members deemed themselves Christian, while committing sin. The film is called Sinners for a reason. A film about a time period that was full of guilt and shame, in a place that was nothing but evil. Sammie recites a prayer, meaning it from his heart, as the vampires recite along in unison, chuckling all the while saying it “comforts them”. It’s important to understand the very second we see Remmick. He falls from the sky, representing him as a fallen angel. Sammie’s prayer isn’t answered by an angel or some otherworldly spirit, but God sending Smoke to finish off the vampire leader, Remmick. God doesn’t always work by sending angels down to save you, but by sending human beings to your comfort. The end-credit scene shows the lone survivor, Sammie, singing “This Little Light of Mine” inside his father’s church, a scene I interpreted as a sign of his acceptance of his Baptist upbringing, also marking a change in Christianity by expressing black culture through now not only music, but also faith. Music is used to the absolute maximum in Sinners. There’s always something so fascinating about non-musicals that use music to tell a story, and it’s the art form used to express black culture. Ludwig Göransson gives yet again another piece of history in his score for Sinners. You thought Can You Hear the Music from Oppenheimer was monumental with its mind blowing use of tempo changes? Wait until you hear Göransson branch out from what you can do with time, to what you can do with genres. His score has literally every genre you can think of. From the blues, to bluegrass, to rock, to metal, to hip-hop, he has it all. There has only been two film scores of the 2020s that have moved me, those being Oppenheimer and Sinners. I think this film solidifies Göransson as the best active film composer in the business. *SPOILERS END* Sinners is a monumental masterpiece. I honestly have no idea where Ryan Coogler can go from here after creating a film that hits everything home and to perfection. It’s been months since I’ve had the urge to leave my house and drive 30+ minutes to go catch a movie, but Ryan Coogler’s Sinners has brought me and many others in. It’s only April, yet Sinners feels like it has saved cinema from a dark place where the top box office film is A Minecraft Movie. I hope Sinners has awoken the world to go to the movies more, as I find cinema to be an important part of our culture as human beings.