SINNERS
"Sinners" – A Dazzling, Gritty Triumph from Coogler!
Every so often, a film arrives that doesn’t just meet expectations but detonates them. Sinners, the latest collaboration between director Ryan Coogler and actor-producer Michael B. Jordan, is just that kind of cinematic surprise! a visceral, genre-melding thrill ride that brims with vision, grit, and soul.
While we had our reservations following the complicated aftermath of Creed and its Stallone controversy, We really loved Sinners! It feels like a film in which Coogler has finally unleashed something wholly his own. Every frame pulses with artistic conviction, from the kinetic energy of its camera work to its richly layered soundscape.
The film’s opening scene, a seemingly routine arrival at a church that’s shattered by thunderous booms and shadowy glimpses of vampiric predators, sets a tone of looming dread and stylistic finesse. From that moment on, it’s clear that Sinners is something special. The use of 70mm mixed with panavison film, lenses, colour grading, and sharp editing combine to form a kind of cinematic alchemy. Yes, a few shots stray into over-grainy territory, but rather than detract, these imperfections add texture and authenticity.
One moment that initially gave us pause, the vampire defense sequence in the juke bar, felt like a clear homage to From Dusk Till Dawn. At first, it seemed derivative, but on reflection, it’s a brilliant example of intertextuality. As Tarantino himself has said, “All art is stolen.” Coogler doesn't copy; he transforms. What might have been pastiche becomes a fresh, high-octane reimagining.
The music both score and soundtrack, is another triumph. Ludwig Göransson once again proves himself a master of auditory storytelling. His genre-blending compositions bring a global pulse to the narrative, from the ethereal tones of Ireland to the punchy, percussive chaos of the finale. A standout moment features Jack O’Connell’s haunting rendition of Will Ye Go, Lassie Go, which delivers a moment of calm that feels almost sacred. And just when you’re lulled into serenity, Rocky Road to Dublin catapults the film into a whirlwind of violence and frenzy.
Speaking of O’Connell: it’s frankly baffling how little attention he’s received in post-release discourse. His performance is magnetic and indispensable. Without him, Sinners wouldn’t have its backbone. He deserves far more recognition for what he brought to the table.
Elsewhere, Michael B. Jordan stuns in dual roles, showing a range and control that firmly reasserts his place among Hollywood’s finest. Hailee Steinfeld, no stranger to powerhouse performances since True Grit, brings nuance and quiet strength to her role. And in a nostalgic yet inspired casting choice, Omar Benson Miller delivers a heartfelt, grounded performance that evokes fond memories of 8 Mile, while injecting warmth into the film’s darker themes.
Not all risks pay off equally. A futuristic musical sequence featuring Miles Caton performing Would I Lie to You dips into cheesy territory with wardrobe choices that feel more “retro-futuristic cosplay” than credible vision. It’s as if someone from 1985 imagined the year 2025. Yet, even this stumble is salvaged by Göransson’s soaring score and dynamic direction.
In the end, Sinners feels like an event—an electric, unruly, passionate piece of cinema that reminds us why we go to the movies. While we lament that its IMAX run is over, one can only hope that its impact will translate to home viewing. Will it retain its full potency on DVD or streaming? Only time will tell.
For now, Sinners stands as a testament to the boldness of modern genre filmmaking and to the rising force that is Ryan Coogler, unshackled and utterly in his element.