Sinners

UK Release Date: 18 April 2025

Director: Ryan Coogler

Cast: Miles Caton, Michael B. Jordan, Jayme Lawson, Delroy Lindo, Omar Benson Miller, Wunmi Mosaku, Jack O'Connell, Hailee Steinfeld

Runtime: 138 mins

Rating: ⭐⭐⭐⭐⭐

Review:

Straightaway, Ryan Coogler cements Sinners as one of the most creative pieces of storytelling to grace the screen. Distorted, flickering and flashing imagery, mirroring events that have already taken place that the audience is yet to see. Capturing the perfect balance between a real, perceivable threat and an evil that is hidden in the shadows. Appropriating the extremities of deep-rooted racism in Clarksdale, Mississippi in the 30's. Making it all the more powerful that the film's demonic oppressor is an Irish immigrant looking to overcome his grief through the means of a surrogate family. Yet, in doing so is committing the same sins that once befell his own culture. The perfect mix of charismatic manipulation and vicious callousness - a line toed expertly by a sinister Jack O'Connell. Simultaneously, diverting narrative focus and taking inspiration from Blues legend, Robert Johnson, and his famous deal with the devil - questioning the morality of the decision to sell one's soul in order to achieve figurative immortality. An initially deft subversion of genre promises before eventually, and deservedly, delivering the vampire shootout. 

Although, it is Coogler’s infatuating direction that is the ultimate draw of Sinners. A filmmaker unashamedly flexing his muscles, a showcase for the endless plethora of his talent. Impressively combating the impracticality of two Michael B. Jordans interacting on screen. Switching between aspect ratios unannounced, 2.76:1 and 1.43:1 respectively. It is nothing short of electric, intensifying the immersion of the cinematic experience. 

This innate technicality within Ryan Coogler's direction of Sinners is most evident in the bold performance of I Lied to You, phenomenally acted out by Miles Caton (Sammie Moore). Acting as an expression of the seemingly binding constraints of faith, providing a rare to chance to rebel, to be free. Even the camera feels free - allowed to explore its surroundings. Combining historically unrepresented cultures under one roof, for a night of euphoria through the power of music. Before, burning out at the ominous sight of supernatural oppression. It is a levitating experience designed to be seen on the largest possible screen.

Alongside the rich direction, Autumn Durald Arkapaw delivers a triumphant visual spectacle. Her cinematography is a gorgeous kaleidoscope of vibrant colours that pop off the screen. The utilisation of the sun is potentially the most memorable. The striking blue, clouded skies highlighting the wish to be free of the binding shackles of enslavement only to be accompanied by an extreme red and orange sunset hinting at the complete lack of awareness of the danger that awaits. 

Having already won two Oscars, for both Black Panther and Oppenheimer, Ludwig Göransson once again musically reinvents for Sinners. Akin to his career best work on Tenet, Göransson is able to craft a thematic narrative through line within the score. Love and joy consistently being cancelled out by cruelty - evil undertones that haunt the score. Bury That Guitar being the most notable example as the devil symbolically overwhelms the sound with emphatic bangs of a drum. 

Historically, fitting the time period whilst also harbouring a distinctly fresh quality. Perhaps down to the rare use of a 1932 Dobro Cyclops resonator guitar, the same guitar used by Sammie in the film, creating a style of Delta Blues that feels discernible - as if the characters themselves can conjure it. Vividly lived in, giving the audience a route in to emotionally connect and resonate with the cultural abundance on display. A ridiculous accomplishment in all honesty.