Movie Review: Sinners
One-liner: Strong performances, a compelling soundtrack and graphic novel flair drives this ambitious and unwieldy period drama turned horror musical hybridisation.
Sinners is the latest film from director Ryan Coogler. In a never-before-seen deal with the studio, it appears that Coogler will assume the rights after a 25-year gap, which has caused some rifts in Hollywood as the idea of ownership is brought into question. A landmark deal, Sinners represents a shift in thinking about creative rights.
Sinners is a curious film set in 1932 Prohibition era Mississippi, where twin brothers Smoke and Stack leave their past troubles and return to their hometown in order to convert a barn into a watering hole and blues bar. While the film starts like a straightforward period drama, as the brothers roll into town to assemble their crew, it takes a curious turn as it shifts gears to introduce musical and supernatural horror elements.
Coogler is known for Creed and Black Panther, which does make the foray into a period piece drama adrift from his usual fare. Yet, the venture into prestige drama territory is relatively short-lived as what would ordinarily be a gritty conflict involving the Ku Klux Klan turns into something otherworldly. A bold genre mix and hybridisation, Sinners has an experimental edge, tapping into the same realm of the series, Lovecraft Country.
It could be described as Babylon meets From Dusk Till Dawn. This grand vision takes on a self-indulgent quality like Babylon as the director cuts loose as a period piece epic and transforms into gothic horror before it spirals into the peril of a zombie invasion movie. The handshake moves from authentic drama to wild horror musical as vampires descend as in the unexpected reversal of From Dusk Till Dawn. There are many times where Coogler only just seems to have the reins on this stagecoach, from the arrival of a menacing stranger to the inauguration of a rollicking blues room. It’s an ambitious genre switch and there are several interchanges that threaten to spiral out of control, yet somehow Coogler holds fast.
A valid excuse and welcome comic relief, somehow the marriage between drama and horror works as the contemporary music and performances keep things steady. When it comes to horror, Sinners is a gore fest with plenty of bloody action to satisfy fans of the genre. It doesn’t hold back, going to some visceral and dark places along the way. The interdimensional musical aspect makes for certain allowances as a mist of forgiveness filters into moments that are even vaguely overcooked. This hybridisation smooths over any creases as the film changes lanes without too much fuss.
“Kiss me with your aura.”
Coogler’s largely aided by excellent performances, which anchor the drama, world and story with deep-seated conviction. Impassioned performances from the main players keep an air of authenticity and unquestionable authority when it comes to the realness of these characters and their situations
Taking its time to immerse us in this variation on 1930s Mississippi, you come to appreciate the nuanced performances which would ordinarily be throwaway in a straight-up horror, giving them the platform to prove their worth. The injection of horror and musical almost becomes an endurance test as the actors try to hold their ground without slipping into a schlocky dimension.
Michael B. Jordan plays the twins, Smoke and Stack, who are carefully distinguished by their choice attire as well as red and blue colour schemes, the same yet slightly different. He leads from the front, going from hoodlum to hero. Delroy Lindo is perfectly cast, crafting a stalwart performance as a drunk harmonica player with some of the funniest lines and moments.
Hailee Steinfeld adds another arrow to her quiver with a spirited performance as Mary, in spite of diminishing returns, while Miles Caton is an earnest and innocent guiding line as music prodigy, Sammie. Tenaj L. Jackson exudes raw passion and magnetism as Beatrice, while the swirling vortex that is Jack O’Connell delivers a menacing and powerful turn as Remmick.
Set primarily at one location, Sinners doesn’t feel constrained, using its space quite dexterously and opening it up to all kinds of possibilities. It starts like a serious prestige drama, yet the incremental shift keeps things interesting and as it slowly evolves into a wickedly entertaining splatterfest. As you’d expect it’s not for everyone, showing some pretty gratuitous violence and venturing forth into basic vampire lore. Sinners grapples with some curious concepts and makes some turns that could lead to some wonderful conversation-starters, doing enough to keep you transfixed.
The full impact is probably best felt without knowing the extent of the genre detour. Luckily it doesn’t come out of the blue as much as From Dusk Till Dawn, cleverly navigating the thin line between silly and serious. This strange tension adds to the entertainment value, harnessing strong performances and a compelling soundtrack via timely themes. Sinners also knows how to poke fun at itself, shifting its weight between comedy and drama without derailing.
Ultimately, an epic horror musical, it’s a well-balanced effort and a successful translation of Coogler’s vision. The on-screen result does read a lot like a graphic novel adaptation and it will be interesting to see what kind of value it holds in 25 years time. Having some Tarantino flair, it manages to land most of its swings by doubling down on swagger.
Sinners can be appreciated for its determination and even-handed performances, managing to cast a net over what would’ve been a more unwieldy production in a less accomplished director’s hands. There are a few shaky moments where it threatens to self-implode but doesn’t – adding to the collective tension and entertainment value. A fun and wild film experience, Coogler certainly throws a bloody spanner in the works and leaves the barn door wide open for a possible sequel.
The bottom line: Wild
