‘Sinners’– One of the decade’s best films

Ryan Coogler has adapted a gut-wrenching real-life story in Fruitvale Station, revitalised a cinema icon with Creed, and brought extraordinary levels of consciousness to the Marvel Cinematic Universe with Black Panther.

With Sinners he tells a story that’s his very own, and to do so, he’s gathered his frequent collaborative partners for the project, including wife and producer Zinzi Coogler, composer Ludwig Göransson, and even gets the two-for-one combo with Michael B. Jordan playing twins.

With this dream team, Sinners tells the story of Smoke and Stack, a pair of gangsters in the 1930s, returning home to Mississippi from the streets of Chicago with aspirations of building a juke joint. For us, by us, they cry as they set out to create a safe haven for black faces in the night to enjoy libations away from prying eyes.

Much like Coogler himself, Smoke and Stack spend much of the movie gathering companions. Their selections include their cousin with a voice made for the blues played by Miles Caton, a veteran musician with an affinity for alcohol played by Delroy Lindo, and a host of other individuals each one just as fleshed out as the last, with incredible performances behind them.

VAMPIRE FLICK

What’s typically treated as a mundane set-up for an explosive second half, is so enthralling on its own. In truth, Sinners could have spent three hours telling a historical epic and it would’ve still been a contender for best film of the year. Instead, we’re also treated to a vampire flick oozing with captivating southern-Gothic imagery, with characters we care deeply for.

As innovative as Sinners is, it’s not above catering to the established tropes of vampire horror. Several moments are ripped from the necks of previous vampire films, almost as though Sinners is paying its dues to a genre as old as film itself. The rules of vampirism as we’ve come to know them are played with as the characters arm themselves to hold their positions until sunrise, against the face of pure evil in the form of Jack O’Connell’s Remmick, whose performance stands out in a cast that’s already doing the most.

Special mention has to be given to the music. Ludwig Göransson proves once again why he’s a force to be reckoned with, with a score that’s infinitely integral to the film. With its dialogue, Sinners waxes poetically about the importance of music to black history and culture, but it’s not simply lip service. The film’s reverence to blues is apparent, visually showcasing the music’s connection to the story of a people.

To be honest, there are several reasons to sprint to cinemas to see Sinners. Michael B. Jordan’s best scene partner is himself, making it perhaps the first viable run for Best Supporting Actor and Best Actor nominations for the same actor. The cinematography is gorgeous, with exceptional colour grading and lighting to evoke horror, beauty, and realism.

The dialogue is poetic and speaks volumes for the characters and the messages entrenched in the film. All of these reasons warrant the price of admission, but one scene in particular demands repeat viewings. Coogler crafts a confoundedly creative cornerstone of cinema in one breathtaking sequence, elevating the movie from its already lofty achievements. In critic speak, if you see one film this year, it absolutely must be Ryan Coogler’s instant classic Sinners.

Rating: G.O.A.T

Damian Levy is a film critic and podcaster for Damian Michael Movies