Sinners

FULL SPOILER-FREE REVIEW @ https://www.firstshowing.net/2025/review-sinners-is-one-of-this-years-most-daring-ambitious-films/ "Sinners is living proof that major studios can still produce artistic, provocative, and emotionally resonant movies. With Ryan Coogler's confident and creatively daring direction, an unforgettable, award-worthy score, a strong ensemble cast, and a thematically rich exploration of racial oppression, cultural identity, and spirituality, this is undoubtedly one of the most impactful films of the year so far. An intense, memorable spectacle with a sharp social commentary - and one that demands to be seen on the biggest screen possible." Rating: A-

It’s always gratifying to see a filmmaker take a big step up in his or her career, and that’s precisely what writer-director Ryan Coogler has done in his latest offering, a project that reflects a significant jump in the depth, artistry and sophistication of his creative output. Coming on the heels of his successes in “Black Panther: Wakanda Forever” (2022), “Creed” (2015) and “Fruitvale Station” (2013), Coogler has hit a home run with this period piece smart horror story about identical twin brothers (both played by Michael B. Jordan) who return to their Mississippi home in 1932 after years of working for Al Capone in Chicago, where they made huge money that they now plan to use to open their own juke joint in a converted sawmill. It’s an opportunity where they hope to make even bigger bucks while helping to promote their talented cousin, Sammie (Miles Caton), a blues musician who’s a killer guitarist and vocalist. But, as this ambitious trio launches this effort, they’re confronted with a variety of challenges, including ghosts from their past, the perils of deeply ingrained social prejudice, the dual-edged sword posed by creative and financial success, and, most menacingly, mystical forces that may be more than they’re capable of handling. These narrative components combine to tell a captivating tale about a troubled time in the country’s history, one made all the more ominous with the appearance of supernatural powers that simultaneously offer both potential promise and the prospects of tremendous evil taking root. In bringing this picture to life, the filmmaker has served up an entertaining and engaging offering, one replete with fine performances, superb production values, sharp-edged, perfectly timed comic relief, truly inventive, deftly orchestrated cinematography, and suitably restrained (graphic though not gratuitous) imagery. Admittedly, the screenplay could use some work in a few spots (most notably with tighter writing and clearer plot elaboration), but it also manages to successfully fuse the inherent nature of several genres, including drama, dark humor and smart horror, while also presenting a wealth of insights in an array of areas. Through this picture, it’s easy to see how Coogler has appreciably upped his game as a filmmaker, one that bodes well for his future in the field. It indeed represents the revelation of a talent more profound than anyone has previously recognized or properly acknowledged. “Sinners” is a work that deserves to be remembered come awards season later this year. Let’s hope that it is.

'Sinners' is a fair load of fun. It admittedly didn't fully knock my socks off, but there isn't any doubt that it is a very good film. It's stylish with impressive music and visuals, whilst all of the acting talent give good performances. It's paced astutely too. Michael B. Jordan is as entertaining as he usually tends to be, I do like seeing him act. The dual role is done well here, the 'split screen' is solid but my brain sillily - no matter the movie or standard of how they portray the same actor twice - simply cannot interpret the effect as seamless. Jack O'Connell stands out behind Jordan, particularly for the moments of sing. Hailee Steinfeld and Wunmi Mosaku are the others that I took notice of too, same can be said for Delroy Lindo, Li Jun Li and Omar Miller; I oddly always think of 'American Pie Presents: Band Camp' with the latter (I'm so sorry, Omar). I must say, the trailers revealed too much. I tend to avoid those so assume I didn't get the full brunt of it anyway, though even so I remember catching a couple of bits that don't occur until the gritty part of the movie. It's no biggie, trailers are designed to get bums on seats after all.