LONDON – Ryan Coogler’s Sinners is a bold and terrifyingly effective reimagining of the vampire genre, using the supernatural as a lens to examine the very real horrors of racism in 1930s Jim Crow Mississippi.
Michael B. Jordan commands the screen in a dual role as Smoke and Stack, infamous twin brothers coming back to their small Mississippi town before a supernatural threat surfaced.
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Distinguished by their red and blue hats – perhaps symbolic of their opposing temperaments – Jordan delivers a nuanced performance that balances both personalities with clarity and charisma.
Vampirism here is more metaphor than monster, a reflection of the devouring nature of hatred and racism rather than a traditional horror trope.
Though the vampire lore could have been fleshed out more – particularly its origins – the film’s slow-burn pacing allows characters and relationships to develop authentically before plunging into full-blown supernatural war.
The film features Miles Caton, making his acting debut as Sammy, known as “preacher boy.” Caton’s musical prowess shines in a pivotal scene, channelling the early blues influences that resonate throughout the Mississippi Delta, an inspiration identified by Coogler himself.
The film’s cinematography captures the comforting strains of the blues, reinforcing its role as a vehicle for sorrow and connection among various diasporas.
Coogler doesn’t flinch from the brutal realities of the Jim Crow era, depicting the exhaustion of cotton picking for the enslaved, the omnipresent fear of the Ku Klux Klan, and the pressure on marginalized groups – including Native and Chinese American characters – to assimilate into a society that strips them of identity.
Through the introduction of Christianity into these communities, Sinners critically examines the sidelining of traditional African spiritual practices like hoodoo.
The casting is superb.
Wunmi Mosaku gives a standout performance as Annie, a powerful practitioner of hoodoo – a religious practice rooted in African traditions – echoing her memorable role in the show Lovecraft Country.
Likewise, Hailee Steinfeld introduces another layer of complexity as Mary, a scorned lover, whose surprise vulgarities and accent capture the attention of her audience.
Jack O’Connell, as Remmick, an Irish vampire with a haunting presence, delivers one of the film’s most memorable moments – a disturbing Irish dance scene that plays like a twisted ode to music’s manipulative power. His character also serves as a critique of colonial complicity and cultural erasure.
Delroy Lindo brings levity and warmth to the film, balancing his character’s vice, alcohol, with wise humor.
Visually, the cinematography is captivating, capturing the eerie Southern Gothic landscape.
The film earns its 15 rating with strong language and sexual scenes, but nothing feels unjustified. It all serves the film’s raw, unflinching tone.
Sinners is a harrowing, thought-provoking film where the horrors of racism eclipse the supernatural and music becomes a balm and a battleground.
With this, Coogler crafted a story that resonates long after the credits roll.
Anjola Fashawe is a Senior Correspondent with Youth Journalism International.
