‘Sinners’ defies horror genre tropes with refreshing story, acting
Micheal B. Jordan plays a set of twins in “Sinners,” Smoke and Stack. The twins return home to Mississippi to open a blues club but end up attracting vampires. Julia English | Contributing Illustrator
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“Sinners” is undoubtedly an ambitious movie. The concept sounds absurd on paper: a sexual drama/romance, a love letter to blues music, a horror movie full of gory vampire action and a commentary on Jim Crow era racism all wrapped into one. But in an industry full of stale reboots and sequels, writer and director Ryan Coogler offers a refreshing film that never loses your attention with its expansive storytelling.
“Sinners” follows the twins Smoke and Stack — both played by Michael B. Jordan — as they move back to their home in the Mississippi Delta in 1932 to start up a “juke joint” club for blues music, gambling and drinking. Along the way, they recruit their younger cousin Sammie (Miles Caton) and old-time blues player and local drunk Delta Slim (Delroy Lindo) to play music.
The twins also run into former lovers, like Smoke’s ex-wife Annie (Wunmi Mosaku) and Stack’s ex-girlfriend Mary (Hailee Steinfeld), adding the romantic dimension to the movie. But the club’s opening and the supernaturally powerful sound of the blues music attracts cult-like vampires, led by Remmick (Jack O’Connell).
While the idea of the same actor playing two twin brothers may seem gimmicky at first, Jordan immerses himself into the roles as the film progresses. He distinguishes each twin as unique characters and overcomes initial confusion in differentiating them, eventually effortlessly switching between them.
Jordan’s performance is foundational to selling the premise of the film, and he excels at it, bringing exhilarating charisma and tragic anguish when needed. Mosaku’s acting was full of depth, and she shines as Annie. Some of her moments reconnecting with Smoke stand out as the most emotionally touching of the entire film.
The most shocking standout is Caton, whose performance as Sammie is his first-ever professional acting role. Caton captures both innocence and the will to grow out of it through his blues numbers and acting. His first performance at the club opening sticks out with his deep, powerful voice and twangy guitar, creating a surrealist vision of the ancestral heritage of blues music and its future trajectory.
Joe Zhao | Design Editor
The music in the film is electrifying, whether it be the score bringing in unsettling bayou energy, or the songs at the club building up to thumping anthems. Blues music is a key motif throughout, serving as the rallying cry of the Black sharecropping community.
It’s also what lures the vampires to the club, and is a threat to the Ku Klux Klan in the area. The KKK plans to attack the club, viewing it as an imposition to the white supremacist order. Beyond that, music represents an out from a future forced upon Sammie, as he sees it as his opportunity to escape a life of sharecropping.
The music motif captures both the fascinating storytelling of the film and a key issue: too many ideas, not enough focus. Coogler’s vision is admirable, and in many ways, he succeeds. The highs of “Sinners” rival the best films, completely capturing you in their vision.
However, Coogler’s resources are spread thin, as the tone jarringly shifts from one section of the film to the next. This is especially clear in the last half of the film. It flirts with transitioning to horror, but always stops short. The bizarre blend of drama, comedy and action is equal parts captivating and baffling.
This genre blend is frustrating — it’s exactly what makes the film fascinating, yet its execution can falter at times. Moments of horror and drama are suddenly broken up with dry comedic bits or violent action sequences, often cutting into important character development that needs more air to breathe.
Perhaps studio demands for shorter runtime took away from what could’ve been a more evenly-paced film. It often feels as though scenes that were intended to be distinct and powerful end up ludicrous and out of place.
But “Sinners” never commits the grave sin of being boring. Despite what seems to be a lack of focus, there’s never a lack of creative artistry on display. A perfect example of this is a scene in which the vampires break out into an Irish song to taunt the trapped protagonists. The shot is mesmerizing, with the camera swinging around the horde of vampires. This builds into a moment of surprising tension as the vampires crescendo into a haunting final act.
The scene is odd and somewhat ridiculous at times, but earnest commitment to the vision makes it incredibly enthralling. It advances the motif of vampires as a representation of an evil distinct from the Jim Crow South.
With a great cast, beautiful cinematography and heart-stopping music, “Sinners” is a loveable mess. No matter its flaws, it’s good to see a movie like this — one that allows its director to take risks and never sacrifice creativity to try and please everyone.
