Director: Ryan Coogler
Starring: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O’Connor, Wunmi Mosaku, Jayme Lawson, Omar Miller, Delroy Lindo
Certificate: 15
Run Time: 138 mins

Sinners is an original horror film written, co-produced and directed by Ryan Coogler, notable for injecting new life into established series with films such as Creed and Black Panther. Set in 1932 in the Mississippi Delta, Coogler-regular Michael B. Jordan stars in a dual role as twin brothers Elijah ‘Smoke’ and Elias ‘Stack’ Moore who return to their home after spending years working for the Chicago Outfit. They buy a sawmill from a racist landowner with stolen cash from the gangsters so they can open a juke joint for the local black community. After recruiting a team of staff, the Moore’s cousin Sammie’s (Miles Caton) blues music is so transcendent that it unknowingly summons spirits, unfortunately attracting the attention of some vampires led by Irish-immigrant Remmick (Jack O’Connell).

Sinners is an ambitious piece and while it’s refreshing that Coogler’s got to make a relatively big-budget ($100 million) original work is to be commended, the film is rather messy in its construction. Coogler’s script is the fundamental problem – it’s too talky and expository, and none of the themes are explored with any form of subtlety. There’s also next-to-no character development, despite the cast doing the best with the material they’ve got. For example, I found it difficult in distinguishing the difference between Michael B. Jordan’s characters. Still, Jordan puts in a committed performance and of the supporting cast, it’s Delroy Lindo that’s the standout as an alcoholic pianist.

While there’s the beginnings of a formidable villain in Remmick (I particularly appreciated his abrupt entrance in how he seems to drop out of the sky), the vampire element of Sinners didn’t work for me. Coogler is clearly more interested in the transcendent music and rushes through the film’s blood and guts, with no tension whatsoever.

There’s certainly many plus points though, chiefly some very entertaining sequences here and there. The world that Coogler creates feels authentic, from everything to the costume and set design – the film certainly wears its reasonable budget with pride. Ludwig Göransson’s score also stands out, really elevating the film in how it flirts with all manner of generational and musical genres. Autumn Durald Arkapaw’s cinematography deftly captures the hot, arid nature of the Mississippi but some of the nighttime shots are too darkly lit.

While I found enough to like in Sinners, I don’t quite understand the rapturous reception it’s received – it’s rather overrated. It’s a rewrite away from being something really special and I wish Coogler’s script had more focus. If you’re expecting a modernised version of From Dusk till Dawn, you’re going to be disappointed. But there’s certainly some interesting ideas in Sinners, and I’m certainly glad an original piece such as this exists.