TO DANCE WITH THE DEVIL…
When looking at the next generation of up-and-coming film directors in Hollywood, one cannot overlook the brilliance and thoughtful craftsmanship of Ryan Coogler. After beginning his career with four short films, Coogler made his feature debut with Fruitvale Station in 2013, a film that earned widespread praise and multiple accolades from film festivals, including the Sundance and Cannes Film Festivals. From there, he stepped into franchise filmmaking with Creed (2015), a Rocky spin-off that revitalized the boxing series, and later joined the Marvel Cinematic Universe with the culturally significant and critically acclaimed Black Panther (2018) and its sequel Black Panther: Wakanda Forever (2022). Collectively, Coogler’s work has achieved both commercial success and critical acclaim, often spotlighting underrepresented characters and cultures, particularly within the African American community. He’s also formed strong creative partnerships with actor Michael B. Jordan and composer Ludwig Göransson, both of whom have appeared in or contributed to all of his films to date. Now, Warner Bros. Pictures and film director Ryan Coogler present his fifth theatrical feature with Sinners, a bold blend of period drama and supernatural horror. But does this genre fusion deliver cinematic impact, or do its clashing tones hit a sour note for the acclaimed director?
THE STORY
Set in the year 1932, twin brothers Elijah “Smoke” Moore and Elias “Stack” Moore (both played by Michael B. Jordan) return to their hometown of Clarksdale, Mississippi, after spending time working in Chicago under the infamous mobster Al Capone. Eager to leave their criminal past behind and forge a new future, the brothers purchase a rundown old mill with dreams of transforming it into a thriving juke joint, a place where locals can gather for liquor, music, and good times. Wasting no time, the siblings get to work. Smoke hires Lisa (Helena Hu) and Bo (Yao Chow) to haul in supplies, while also bringing in his estranged wife, Annie (Wunmi Mosaku), to run the kitchen. Meanwhile, Stack faces an awkward reunion with his former flame Mary (Hailee Steinfeld), but focuses on rounding out the juke joint’s atmosphere, enlisting the talents of blues musician Delta Slim (Delroy Lindo) to entertain patrons, the burly field worker Cornbread (Omar Miller) as head of security, and their gifted young cousin, Sammie “Preacher Boy” Moore (Miles Caton), whose skill with a guitar is nothing short of mesmerizing. As the grand opening approaches, the brothers find themselves confronted not only by lingering ghosts from their own pasts but also by a far more sinister force. From the dark edges of the town emerges Remmick (Jack O’Connell), a cunning vampire intent on building a deadly clan of his own, and Smoke and Stack’s newfound dreams might soon become a battleground for something far more horrifying than they ever imagined.
THE GOOD / THE BAD
As mentioned earlier, there’s no denying that Ryan Coogler is one of the most effective and promising filmmakers of the new generation of Hollywood directors. I’ll admit, I haven’t seen his debut film, Fruitvale Station, yet, but I’ve heard great things about it and definitely plan to check it out soon. My first real exposure to Coogler’s talents came with 2015’s Creed, which successfully revitalized the Rocky franchise, honoring its legacy while branching out with a fresh new character. That film clearly demonstrated Coogler’s ability to appeal to both longtime fans and new audiences. Black Panther was another major triumph, offering a superhero movie that felt deeply grounded in character and rich in cultural authenticity, portraying T’Challa and the fictional nation of Wakanda with care and nuance. It also proved that not every MCU entry had to feel formulaic. Then came Black Panther: Wakanda Forever, a film that, while not surpassing its predecessor, still carried on the franchise’s legacy with strength and sensitivity, especially considering the immense challenges the production faced after the untimely passing of Chadwick Boseman. Coogler’s ability to adapt and still deliver a moving and cohesive film speaks volumes about his talent. In the end, even with only a handful of directorial credits, Coogler has consistently shown that he can handle major, high-expectation projects, bringing personal vision to established brands and creating powerful, emotionally resonant films along the way.
This brings me back to talking about Sinners, a 2025 horror drama piece and the fifth overall film from director Ryan Coogler. As outlined above, following the success of the second Black Panther movie, Coogler clearly wanted to do another big-budget film, but probably one that was more of his own creation rather than relying heavily on franchise nostalgia or cinematic superhero universes. To be honest, I really didn’t hear much about this movie when it was in development. Of course, I knew that Coogler was working on a new project soon, but I didn’t see or hear anything about Sinners at first. It wasn’t until the film’s trailers began to pop up online and in theaters that I first heard about it. I only saw the first trailer (basically the teaser), which showcased the setting and basic plot, but kept a lot of the story a mystery. That definitely intrigued me, so I purposely didn’t watch any more previews after that.
Afterward, I started hearing a lot of hype and anticipation for Sinners, especially from early advance screenings and “word of mouth” online. It was scheduled to be released on April 18th, 2025 (Easter weekend), and I ended up seeing the movie a few days after its initial release. I took a little longer to finish this review because of my work schedule, but now I’m ready to share my thoughts. And what did I think of it? Well, to be honest, I really liked it. Despite one or two minor things, Sinners is an electrifying piece that blends period drama for its setting, vampiric horror for its main hook, and blues musical vibes for its presentation, all wrapped together in the solid world-building that Coogler envisioned beautifully. It might not surpass Creed as my personal favorite Coogler film, but it comes pretty close, especially for its own originality.
Drawing from the experience of his last four films, Coogler approaches Sinners with clear interest in the subject matter, while also subverting expectations. He does an impressive job shaping the movie around two distinct genres: a historical drama and a horror film. Blending those two tones can be tricky, and it takes a skilled director to balance them without one overpowering the other. Thankfully, Coogler knows exactly what he’s doing, and the result is a surprisingly cohesive and well-executed mix.
Honestly, I have to applaud him for making such a bold choice by introducing the horror/vampire element. The film is already strong without it. If you removed the horror angle entirely, Sinners would still function as a compelling historical drama, especially with the way the first act sets everything up. Sure, a few story beats would need adjusting, but the bones of a great period piece are already there.
That said, Coogler doesn’t take the safer, more traditional route. Instead, he leans into something more daring and unconventional, and it pays off. The vampire angle adds a new layer to the film’s atmosphere and tone, giving Sinners its own unique identity and making it stand out from other entries in either genre.
As with many of his past projects, Coogler pulls double duty on Sinners as both director and writer, and it absolutely pays off. His writing here is sharp and confident. While some parts could’ve been trimmed for tighter pacing (more on that below), there’s a clear purpose in the way he builds out the setting and layers the backstory. The character development feels natural and grounded, making the world of Sinners feel fully lived in. The dialogue is especially strong, thoughtful, purposeful, and clearly written with care. It gives the cast plenty of material to work with, allowing the performances to feel rich and textured. In short, Coogler’s script is one of the film’s biggest strengths.
His direction, meanwhile, comes from a place of love and deep respect for the story he’s telling. There’s an attention to detail throughout the film that breathes life into both the setting and the characters, heroes, villains, and everyone in between. The world-building is particularly impressive, as Coogler takes his time to draw out the narrative threads and immerse the audience in the film’s 1932 Mississippi backdrop.
Music, especially blues, plays a central role here, not just as atmosphere, but as narrative texture. Coogler understands how universal music is: its ability to connect people through melody, emotion, and memory. With the story taking place in the Deep South and deeply rooted in African American culture, the use of blues music becomes a bold and theatrical statement. Thankfully, Coogler handles it with subtlety and care, weaving it into the film’s core without ever overdoing it.
Even the horror elements, particularly the depiction of vampires, feel considered and fresh. Their purpose, their power, and the seductive nature of their presence are all explored just enough to feel distinct from the usual portrayals of these creatures. In the end, Sinners delivers world-building that feels thoughtful, immersive, and fully realized. It’s a testament to Coogler’s unwavering vision, a story about family, music, and the monsters that hide in the dark.
In terms of visual presentation, Sinners oozes with personality, flair, and realism, drawing viewers deep into its own world. Coogler and his team do an excellent job of layering the film’s backdrop, set in 1932 Mississippi during the heart of the Deep South. This setting not only enhances the film’s tone but also strengthens its world-building, which Coogler handles with care and precision. The world of Sinners feels lived-in and vibrant, brimming with texture, atmosphere, and a strong sense of time and place that makes the setting feel both cinematic and authentic.
From the set designs and location layouts to the beautifully detailed costumes, the film captures the richness and grit of the era with impressive accuracy. Everything feels grounded yet stylized, painting a vivid portrait of Clarksdale that feels rooted in both history and drama. Credit goes to the film’s stellar behind-the-scenes crew: Hannah Beachler (production design), Monique Champagne (set decoration), Ruth E. Carter (costume design), and the art direction team of Jonathan Cappel, Timotheus Davis, and Jesse Rosenthal. Their collective expertise brings the film’s 1930s setting to life with striking detail.
Also worth praising is the cinematography by Autumn Durald Arkapaw, who delivers gorgeous, moody visuals throughout the film’s runtime. Her work captures both the intimacy and the scale of Sinners, blending striking compositions with theatrical flair that fits the tone of the story beautifully.
Additionally, I do have to admit that the sound editing and mixing for the movie was spot on throughout the entire picture. The various sound elements certainly do play an instrumental part of the feature’s presentation, with the people who worked on sound design for Sinners did a great job, for there is definitely a usage of atmospheric editing and mixing at work throughout movie and it comes across beautifully.
Then, of course, there’s the film’s album soundtrack, which absolutely brims with greatness in both its compilation and composition. Naturally, I expected the album to carry that classic Southern vibe and bluesy feel, but I wasn’t expecting it to be this good! As mentioned earlier, music serves as the central heartbeat of Sinners, and Coogler makes sure the film is fully charged with an impressive, emotionally resonant soundtrack. Each track speaks volumes, not just in terms of the album itself, but in how it’s infused with texture, meaning, and narrative weight. From the emotionally heavy, visually gripping scene of Sammie’s musical labor in “I Lied to You,” to the devilish energy of Remmick’s traditional Irish jig banger “Rocky Road to Dublin,” the song choices are not only spot-on, they’re performed brilliantly. I definitely recommend giving the album a listen.
Also, I have to say that the film’s score, composed by Ludwig Göransson, is pretty darn good and delivers a rich, atmospheric composition throughout the feature. Naturally, it carries all the usual fanfare and emotional moods you’d expect from a drama set in the 1932 era, yet it also builds beautifully on some of the film’s more intimate moments, whether it’s character-driven scenes, sobering dramatic beats, or tension-filled sequences. All in all, while Göransson’s work here might not be as enthralling or groundbreaking as his score for Oppenheimer, he still delivers an outstanding and memorable soundtrack for Sinners, beautifully crafting a melodic and resonant piece that fits the movie perfectly.
While I greatly enjoyed most of what Sinners had to offer, there were a few minor criticisms I had with the film. That’s not to say these critiques derail the movie in any significant way (because they don’t) but rather areas that could’ve been either expanded upon or trimmed down for a tighter and more polished presentation. How so? Well, for starters, the first half of the movie could’ve used a little bit more “oomph.” It’s clear that Coogler wanted to showcase the film’s world and characters in a proper light, fleshing out details, motivations, and world-building in a vivid way. And while I definitely appreciate such development (make no mistake about that), there is a noticeable pacing issue in the first act. Yes, it’s all about setting up the individual players and how Smoke and Stack round them up for the opening night of their juke joint, but I felt that Coogler could’ve added a little more finesse to this part to make it feel more engaging. One might even say that the first act of Sinners acts as a “slow burn,” gradually peeling away the layers before reaching the film’s meatier core. It’s effective, to be sure, but it can feel like a bit of a slog to get through for some.
Then comes the horror elements themselves, and how they aren’t fully scary enough to a certain degree. True, what’s presented works for what the movie needs in this particular aspect, but I think Coogler could’ve pushed it a little further to add that extra punch of R-rated violence. I’m not asking for an excess of carnage or a visual bloodbath extravaganza, but there are definitely ways he could’ve heightened the vampiric horrors in the right way. I mean… just look at what Robert Eggers did with 2024’s Nosferatu, which balanced in-depth character drama, fantastic world-building, and atmospheric horror violence. Coogler certainly accomplishes the first two aspects the right way, but seems a little unsure of how to fully tackle the horror element. Again, this is merely a minor complaint. What’s presented still works; I just think it could’ve been tweaked a little bit more.
What helps smooth over some of those earlier criticisms is the film’s cast, which is stacked with a strong lineup of acting talent. Some faces are familiar, others less so, but nearly everyone brings something to the table in making Sinners’ characters feel fully realized. Even better, Coogler’s script gives most of them enough breathing room to feel well-rounded and dynamic.
Leading the charge is Michael B. Jordan, who plays dual roles as twin brothers Elijah “Smoke” Moore and Elias “Stack” Moore. Known for his frequent collaborations with Coogler, Jordan has become a major name in Hollywood, both in front of and behind the camera. So, it’s no surprise to see him headline a project like this and he does a fantastic job playing both brothers, who are equally layered and distinct. Rather than portraying two versions of the same personality, Jordan makes sure each character has a different rhythm and emotional edge. Smoke is more morally ambiguous, aggressive, and haunted by his past, while Stack is more grounded, business-minded, and focused on moving beyond his criminal roots. The contrast is compelling, and Jordan handles both roles with confidence and nuance. He’s perfectly cast and gives a standout dual performance.
Behind Jordan’s twin roles is newcomer Miles Caton, who plays Smoke and Stack’s cousin Sammie “Preacher Boy” Moore. While the twins serve as central figures in the film, it’s Sammie who quietly takes the lead as the story’s emotional core. Much of Sinners unfolds through his perspective, and he becomes something of a conduit between the world of music and the supernatural forces stirring beneath the surface. It’s a fascinating character, and Caton delivers a strong debut performance, holding his own alongside seasoned co-stars. He plays Sammie with a quiet sincerity, embodying the character’s innocence and idealism as he navigates the dangerous world around him. If there’s a moral center in this story, Sammie is it, and Caton brings a gentle yet commanding presence to the role.
Coogler also gives time to two of the women who shaped Smoke and Stack’s lives before their time in Chicago. First is Annie, Smoke’s estranged wife and a local spiritual healer, played by Wunmi Mosaku (Lovecraft Country and Loki). Annie is a complex character, tough, grounded, and emotionally layered. Her relationship with Smoke carries plenty of history and tension, and their chemistry is palpable. Mosaku strikes a great balance between strength and vulnerability, making Annie one of the film’s most memorable characters. It’s a role that could’ve easily been underwritten, but Mosaku’s performance—and Coogler’s writing, gives her the presence she deserves.
Next is Mary, Stack’s ex-girlfriend, played by Hailee Steinfeld (Pitch Perfect 2 and Spider-Man: Across the Spider-Verse). While her character isn’t quite as emotionally deep as Annie, Mary still leaves an impression, thanks in large part to Steinfeld’s spirited performance. She brings energy and attitude to the role, going toe-to-toe with the men around her and never backing down. Steinfeld also gives Mary a few grounded moments of introspection, offering brief glimpses into her past and what it’s like growing up in Clarksdale.
Among the supporting cast, Delroy Lindo (Da 5 Bloods and Domino) makes a strong impression as Delta Slim, the blues musician Stack recruits to perform on opening night. Lindo’s screen presence is as strong as ever, and he brings a quiet confidence and charisma to the role that instantly stands out.
Then there’s Cornbread, the burly field worker turned bouncer for the juke joint, played by Omar Miller (Ballers and 8 Mile). The character isn’t meant to be deeply explored, but Miller makes the most of his screen time, injecting humor and personality into his scenes. He plays Cornbread exactly as needed, a fun, memorable supporting player who fits right into the film’s lively atmosphere.
The only supporting character I felt was a little weak was Pearline, a singer and somewhat love interest for Sammie, played by actress Jayme Lawson (The Batman and The Woman King). Why? Well, there just isn’t much for her to do in the movie. Her singing parts definitely work, and she does act as a good foil for Sammie’s character from time to time, but overall, it feels like filler, as if Coogler created the role just to give Sammie someone to bounce dialogue off of when the other characters are busy. Once the vampire action ramps up, Pearline pretty much gets pushed aside. Still, that’s not to say Lawson doesn’t do a great job (she absolutely does), which just makes it more disappointing that her character wasn’t given a proper arc. Definitely could’ve been expanded.
While the main and important supporting characters carry much of the story, the film’s antagonist falls to actor Jack O’Connell (Unbroken and 300: Rise of an Empire), who plays Remmick, an Irish vampire looking to feast and grow his dark clan of followers. O’Connell definitely has the screen presence and look to play a sinister figure like Remmick. At times, it can come off a little hammy, but it actually works once you realize he’s meant to be a “wolf in sheep’s clothing,” laying on the Irish charm and Southern hospitality before revealing his true vampiric nature. Plus, O’Connell’s singing parts are top-notch and always a highlight whenever they appear. I do think the character could’ve been expanded a bit more, especially exploring more of his backstory and struggles as a vampire, but what’s presented works well enough for the movie’s needs. As a side note, actor/producer Peter Dreimanis (Sundowners and Nirvana the Band Show) and actress Lola Kirke (Gone Girl and Mozart in the Jungle) do a good job as Bert and Joan, a couple who get caught up in Remmick’s dark plans.
The rest of the cast includes actor Yao (The Last Bout and Tiong Bahru Social Club) as shopkeeper Bo Chow; actress Li Jun Li (Babylon and Wu Assassins) as his wife, Grace Chow; actress Helena Hu (Living Sent and Watchmen) as their daughter, Lisa Chow; actor David Maldonado (The Tomorrow War and Deepwater Horizon) as local KKK affiliate Hogwood; actor Saul Williams (K-PAX and Blink Twice) as Sammie’s pastor father, Jedidah Moore; actor Andrene Ward-Hammond (The Lovebirds and Loving) as Ruthie; actor Nathaniel Arcand (American Outlaws and Pathfinder) as Chayton; actor Tenaj L. Jackson (No One Will Save You and 2 Guns) as Beatrice; and actor Nicole Banks (Invincible and Green Zone) as Jacob. Some characters get more screen time than others, but all of the performances in this group are solid across the board.
FINAL THOUGHTS
“There are legends of people born with the gift of making music so true it can pierce the veil between life and death. Conjuring spirits from the past and the future. This gift can bring healing—but it can also attract demons.” These haunting words echo through a tale filled with celebration, reunion, discovery, and darkness in Sinners. Director Ryan Coogler’s latest film takes a bold swing, subverting expectations by starting as a grounded historical drama set in the Deep South, then turning it on its head with a fusion of Blues music, layered character arcs, and a chilling vampire mythos. Yes, the first act has a few pacing issues and tends to overextend in places, and there are a couple of narrative nuances that could’ve used more fine-tuning. But the end result is a cinematic experience that feels refreshing and captivating from beginning to end. Coogler’s confident direction, sharp writing, beautiful presentation, strong themes, and immersive use of music all work in harmony with a fantastic cast and well-developed characters. Personally, I loved this movie. It may have had a few uneven beats, but as a whole, Sinners was a standout surprise, one that exceeded my expectations in all the right ways. The story was thoughtfully constructed, the genre blending felt original and seamless, and the performances were top-tier across the board. Easily one of the year’s most unexpected gems (so far, at least). So, my recommendation is a strong “highly recommended”, especially for fans of Coogler’s work, or for anyone looking for something a little different than the usual formulaic studio fare. In the end, as I mentioned earlier in this review, Coogler continues to prove he’s one of the most exciting young directors working today. With Sinners, he sinks his teeth into something both musically rich and visually stylish, offering up a soulful, Southern Gothic tale with a sharp bite.
4.5 Out of 5 (Highly Recommended)
The Official Website Link for Sinners: HERE
Released On: April 18th, 2025
Reviewed On: May 25th, 2025
Sinners is 138 minutes long and is rated R for strong bloody violence, sexual content, and language
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