By From Ryan Coogler—director of “Black Panther” and “Creed”—and starring Michael B. Jordan comes a new vision of fear: “Sinners.”
From the twisted vision of Ryan Coogler, SINNERS (2025) is a deliciously gory, wildly sexy, soulful and visionary masterpiece. Sinners reunites the Oscar-nominated filmmaker, Ryan Coogler and long-time friend and collaborator actor Michael B. Jordan for their fifth collaboration, in what may be Coogler’s best film yet. The vampire historical-fiction action and horror film from the acclaimed Black Panther and Creed director hits theaters this week, offering a new exciting cinematic and musical experience for movie-goers.
The period supernatural adventure is written, produced and directed by Coogler, and stars Jordan in a dual role, joined by Oscar nominee Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Benson Miller, Li Jun Li, and Delroy Lindo. The original and genre-bending period vampire blockbuster masterfully blends visual storytelling, bone-chilling music and suspense. Undoubtedly one of the best films this year!
The film is set during very unsettling times in 1932 Mississippi, during the Jim Crow era when racial segregation was enforced and saw the systemic denial of basic rights and opportunities for African Americans. The film stars Jordan in a double performance, playing twin brothers Smoke and Stack, who are trying to leave their troubled lives behind, and return to their hometown in the Mississippi Delta to start again, only to discover that an even greater evil is waiting to welcome them back.
Smoke and Stack, who survived combat in WWI and gangland Chicago, now return to their hometown in Mississippi with a truck full of liquor, wads of money and big ideas. The twins bought the vacant Saw Mill with plans of making a Juke Club for their own people and enjoyment, and a taste of the good life and building a safe space for the community.
The film features a phenomenal script loaded with memorable scenes and standout lines such as the twins returning home and expressing it was no different “Chicago is a plantation, just taller buildings.” inferring that the racial prejudices still exist just from another setting and position of power. Coogler along with his filmmaking team carefully crafted an authentic, refreshing and historical masterpiece that also serves as a love-letter to Blues.
“You keep dancing with the devil, one day he’s gonna follow you home.”
Historical Influences and Incorporating Authentic Folklore
The film does a brilliant job of conveying not only the supernatural elements, but depicting the brutal violence of the Jim Crow South and blending the historical tension with fictional vampire lore. While Sinners may be a horror film on the surface, it is layered with themes of exploitation, sacrifice and liberation. There are very heavy themes and messages sprinkled throughout the film about child loss, race, trauma, identity, and the depths of humanity. There are tragic and heavy moments of racism and the horrific circumstances that African Americans endured even as “freed men.”
There’s a scene where a character (Lindo) reflects on a memory of a peer musician making money and being killed and accused of stealing, and how even success means danger as a Black man, which leads some to alcoholism. There are so many subtle and also forthright details about race, gender, religion and what it means to be free and make your own decisions, also the implications of race ingrained throughout history and the lingering impacts of jim crow such as addiction.
Coogler talks about expanding the vampire story beyond typical lore and crafting an original story that blends many different genres. While “Sinners” truly is unlike anything to come before it, there are certainly inspirations and similarities to other films. Coogler shared that he would love to see a crossover between the vampires from “Sinners” and the vampires from “The Lost Boys.”
While Sinners definitely draws inspiration from films like ‘From Dusk Till Dawn’ and ‘Salem’s Lot’ it also incorporates elements of Mississippi folklore, the blues music scene, Hoodoo influences, Cooglers Mississippi family ties, and is heavily inspired by the legend of Robert Johnson. One of the most direct inspirations for the supernatural film Sinners, comes from the story of the real-life legend of Robert Johnson, the iconic blues musician who allegedly sold his soul to the devil for musical genius.
The film took great care in portraying a historically accurate backdrop and featured an authentically refreshing representation of all the key elements explored in the film. From a more respectful and accurate portrayal of the traditional African American spiritual practice of Hoodoo, to incorporating authentic folklore and drawing themes from real history and Southern Black heritage.
Reuniting with Filmmaking Collaborators
Coogler, also reunites with his frequent filmmaking collaborators, which include groundbreaking cinematographer Autumn Durald Arkapaw (the first woman in the industry to shoot a feature film on 65mm IMAX); Oscar-winning production designer Hannah Beachler; lauded editor Michael P. Shawver; two-time Oscar-winning composer (and four-time Grammy Award-winning music producer), Ludwig Göransson; and two-time Oscar-winning costume designer Ruth E. Carter.
From the unearthly and haunting sounds to the ingenious imagery the film creates a sense of danger, dread and unease. The film was shot with two different aspect ratios and Coogler’s inventive use of different Kodak film stocks and formats. Coogler says “this is the first time ever that a film has been released combining [Ultra Panavision 70 and IMAX].”
So much detail went into crafting this film – from finding the perfect film locations, to creating the film’s vision of Clarksdale, circa 1932, and consulting with experts to maintain the historical integrity of African ancestry. Beachler, together with veteran locations manager Elston Howard prioritized finding the ideal locale in Braithwaite, Louisiana for building the massive, free-standing, metal structure, once a sawmill. Howard wanted “an isolated location with the territorial aspects of water and thick with trees to match the film’s tone.”
From there, his team under the supervision of construction coordinator Erik Van Haaren transformed the harsh space into terrain they could build the juke joint – the joint exterior was built to appear dilapidated and nearly 100 years old. Carpenters and scenic artists transformed freshly cut trees to look weathered and worn by torching, sanding, staining, painting and even chemically distressing the wood.
Other locations shown are when Smoke visits downtown Clarksdale, Mississippi to gather supplies and troops. Van Haaren’s crew also built more than a dozen small businesses in the small town of Donaldsonville, Louisiana to create the film’s vision of Clarksdale, circa 1932, which included two grocery stores, a gas station, movie theater, barber shop, hotel and other small businesses lining the streets.
The veteran construction coordinator with more than two decades in the film business, boasts this being the first director he’s worked with sharing his creative references – “Ryan shared historic photographs, videos, films, books and his music. That shows an amazing awareness of the people he’s working with and his value for everyone’s contribution. You don’t want to disappoint someone like that; you want to bring your very best.”
Another significant location was for Beachler to design Annie, the Conjure woman’s house [played by Mosaku], which incorporated many Hoodoo and Orisha elements. Every detail was accounted for, Coogler even arranged for Hoodoo expert Dr. Yvonne Patricia Chireau to consult with him and members of the cast and crew, to ensure authenticity throughout production. Dr. Chireau explains, “Director Ryan Coogler demanded a high level of authenticity for this film, striving to capture and maintain the historical integrity of African American folk beliefs and practices, many of which have been distorted by those outside the cultures from which they originated.”
Creating Authentic Characters
Coogler (Fruitvale Station, Black Panther) is no stranger to storytelling deeply rooted in emotional validity and cultural implications, focusing on characters with strong connections to their personal and cultural realities. The film offers commentary on generational pain, economic struggles, and social dynamics while offering an authentic and deeper emotional connection with fiction semi-grounded in truth.
Per Coogler: “The film is very genre-fluid, you know? It switches in and out of a lot of different genres. And yes, vampires are an element of the movie, but that’s not the only supernatural element. It’s about more than just that. I’m dealing with a lot of archetypes…not just the vampire, but the supernaturally gifted musician. I think it’s going to surprise folks in a good way. My favorite films in the genre, you could take the supernatural element out and the films still work. But that element actually helps to heighten it, elevate it. I was aspiring to make something in that tradition.”
The characters are very well-developed and display very unique characterizations and elaborate backstories that are integral parts of their persona’s, attributes and motivations. Especially amongst the supporting characters and their connections to the twins and also the ‘breaking of the veil’ between worlds.
Most of the film takes place over one long harrowing day and night. The first half of the nearly two-hour and twenty minute film is mostly set up – introducing us to the characters and the twins’ preparation for the juke joint party. The twins who returned from Chicago with lots of cash made from working for Al Capone, put their money back into the community.
Michael B. Jordan, who plays both twins, brings a distinct approach to each brother. One of the reasons according to Coogler on why he cast Jordan in the leading feature role, was that “He’s somebody who’s incredibly gifted… in some ways, it’s kinda God-given, his charisma and his ability to channel empathy without ever trying. But the things that are under his control are his work ethic, his dedication to the craft and his constant desire to push himself.. We became work friends and have become like family since.”
Jordan and the film’s extensive make-up and styling team took great initiative in differentiating the twins and building Smoke and Stack as two very different people, through hairstyles, style, stance and personality. Smoke is a bit more reserved and pessimistic, while Stack is more of the risk-tasker.
Jordan focused his attention on building the backstory of what happened to them from their earliest memories. “Just really getting inside of the identical twin dynamic and what that means for brothers. I’ve had my dialect coach, Beth McGuire…for years. She’s incredible. I first worked with her on Black Panther. She helped me with a lot of body movement, their physical posture and stand. They both stood differently, they walked a little bit differently—they held their trauma in different places. Just getting into all of the physicality really helped me feel confident and prepared.”
Jordan brought a very nuanced approach to each of his characters, and emphasized their different personalities, and distinct approach to success and trauma. He successfully brought a distinct perspective to each of the brothers and also displayed their interdependence of one another. Another interesting differentiation was their displays of affection.
Stack’s love interest was a complex relationship with Hailee Steinfeld’s character. Steinfeld plays Mary, a woman with a complex past, who is now married into privilege, and returns to address some unfinished business with Stack.
As a Multiracial woman who can pass as white, Mary has her own tribulations dealing with her identity and the struggles that come with it, which include a forbidden love affair. Although she isn’t invited to the Juke, her past with Stack taunts her and she shows up anyway. You can tell Steinfeld was moved and enjoyed connecting with her character and her own roots being a multi-racial woman. Her character had this fierce confidence and power that she really got to lean into. One disadvantage was revealing her and Stack’s fate in the trailer, it would’ve been much more powerful not having this knowledge prior to going into the film, but it’s such a small criticism in the overall context of the film’s success.
Emerging talent and rising-star Miles Caton is absolutely one of the most promising highlights of Sinners, and gave the most stirring and electrifying performance. Caton plays the twins’ younger cousin, Sammie, a.k.a. Preacher Boy, the teenage son of a preacher and sharecropper who comes from a hardworking impoverished family and yearns to become a blues musician. The preternaturally gifted young blues guitarist and singer is recruited by his older cousins to be the headliner at the new juke joint.
Our first introduction to Sammie is an injured, terrified and broken young adult returning to the church after the night’s chaotic events, which he later reflects was still the best night of his life. Sammie is a talented 19-year-old with big dreams and aspirations who wants to explore his passion and craft, and wants to prove to his cousins that this is the life he wants to live.
Music and blues was his only outlet to get away from his day-to-day work and life on the plantation, as he wanted to show people what he had to offer. His guitar is extremely significant and important to him, and the only thing that keeps him going, he doesn’t want to be a sharecropper for the rest of his life. We see him explore growing up in multiple contexts and gaining an otherworldly confidence through his performance.
Significance of Music
Blues music plays an integral role in the film, in general music is such a heavy component that you can even consider it a musical at times. Go-to collaborator and musical genius composer Ludwig Göransson also serves as an executive producer, and partners with his wife music supervisor Serena Göransson to craft the film’s magical, organic and natural instrumentals and score.
Caton worked closely with Ludwig in the studio he explained “as I wanted to figure out how to really sound like I was one of these Blues guys…like Muddy Waters or Buddy Guy. I developed my voice for that song. And once I got in to start recording, it just came to me.”
During his press run, Caton reflected on his musical backstory and his preparation for the integral role that breaks barriers. Caton has been singing since he was a kid and at 16 was already singing background for H.E.R. and opened up for Coldplay.
Prior to even learning about Sinners, Caton, already being a musician at heart, picked up the guitar and started practicing. After getting the call, he was in the studio daily practicing with a professional guitarist learning the fundamentals of the guitar until it felt natural to him and his character Sammie. Caton clearly has an undeniable natural understanding of music as his live performance of the original song “I Lied to You” in the juke was so spellbinding, so mystical and incredibly enticing it left the audience with ethereal chills and applause.
This scene was a major moment in the film, not just narratively but also groundbreaking on so many levels in terms of its reflection of the significance of Blues music and its influence on other genres that come after it. The energy of Sammie’s moment literally “pierces the veil between worlds” with his music, and garnered the attention of not only the supernatural being Remmick but ancestors and future descendants. The feelings this scene evoked will be talked about for generations.
The film not only incorporates blues, but also traditional Irish music and is also invested in showcasing the Irish experience with prejudice, assimilation and discrimination through its nuanced villain Remmick. The main antagonist Remmick (Jack O’Connell) is a charismatic and supernatural stranger, whose arrival ignites a shift in the allegiances within the community. Remmick’s origins are suggested to be from a colonized Ireland in the 5th Century, and show us how layered his character is.
Although he’s a villain, he shares a similar harsh reality with the town locals and sees his victims as people unlike the murderous hateful KKK, empathy was a massive thing for him. He desires to have a community and spread love but ultimately through death. Overall, he just wants to see his own ancestors again, but that means claiming Sammies voice which can transcend through space and time.
This leads his victims to become immortal and connected through his mind and even gaining their memories. These connections lead to massive choreographed performances like “Wild Irish Thyme,” “The Rocky Road to Dublin” and the recreated version of “Pick Poor Robin Clean” performed by Jack O’Connell, Lola Kirk, Peter Dreams. Remmick comes from a colonized Ireland at least 600 years ago, there’s so much rich history rooted in his backstory that it brings a sort of realism although he is a supernatural being.
Exploring Vampire Folklore
Coogler opted for a combination of both practical and visual effects which translated very well for the character designs, exterior shots and enhancing the burning roof scene. The film relied heavily on practical effects for bite marks, transformations and vampire supernatural abilities, such as extensive prosthetics for the makeup of lead vampire Remmick.
It stays true to traditional vampire lore such as creatures with sharp fangs, superhuman strength, speed, and weakness to sunlight. Also traditional kills achieved with a stake through the heart, fire, direct sunlight, holy water and cloves of garlic. We can thank the fearless, strong, female lead Annie (Wunmi Mosaku) for saving everyone with her knowledge of the spiritual world. She is the true hero of the film, as she takes charge and was already prepared for any otherworldly challenge. Mosaku plays Annie, a Hoodoo conjurer, spiritual leader and healer in the community, she’s also Smoke’s one true love whose deep connection with Smoke has survived their time apart.
“Annie is Smoke’s protection, his comforter. She’s his mother, his teacher, his friend and his lover,” says Mosaku, whose character has been waiting years for his return, hopeful that the mojo bag she placed around his neck (to guard him with the power of the ancestors) would bring him back safely.”
Annie is fearless, riveting, and resilient and her relationship with Smoke was incredibly powerful and deeply layered in grief and heartbreak as it was revealed they lost a child. Through a few brief moments we learned so much about the former lovers’ history, their love, their pain, their growth and deep spiritual connection.
“This is where I think the genius of Ryan… not just the script, because it was genius, to me it’s a perfect script.
But in the scene, she asks, “Why are you here?” And he says, “I want you to cook at the
juke.” And the next line repeated, “Why are you here?” But Ryan changed it. Instead of
saying it again, she calls him by his name, Elijah. Then his response is different. The
whole scene became something else by just calling him by his name. And I thought that
was magical. That, to me, was like, “Wow.”
And it just took Ryan seeing things so profoundly and deeply—Ryan said, “Call him by his name.” The whole relationship is broken open in that moment and they’re back together, locked in. It’s no longer about the juke. It’s about the two of them reconnecting and loving each other and being honest.
This scene is steamy, but in a beautifully sensual, stirring, and intimate way. The film is exceptionally sensual without being overly sexual. We also see a deeply moving spiritual connection through Smoke’s vision at the end of the film.
Building Community
Sinners featured a very strong sense of community with its other characters, everyone essentially served a purpose. Delta Slim played by the iconic scene-stealing Delroy Lindo, was a fantastic addition to the film that added a perfect comedic tone and also fatherly guidance. Delta Slim, a local legendary blues man, who walks away from his steady gig to play at the opening of Smoke and Stack’s juke joint adds a sense of community, guidance and wisdom.
He is significant to the twins as a mentor and also really takes Caton under his wings in a protective mentor way, sharing his tribulations as a musician and as a Black man.
LiI Jun Li plays Grace who, along with her husband, Bo Chow (played by Yao), run the local grocery stores that serve the entire community in their small town. They represent a small community of 1930’s Mississippi where Chinese Americans lived between very segregated whites and Blacks and they owned separate grocery stores to serve both communities. Jun Li talked about the preparation for the role studying documentaries of Chinese communities and not being aware that there was a small Chinese community in that area at the time. She referenced a documentary on the Chinese of Delta Mississippi from the 1930s, made by a filmmaker named Dolly Li, and that the community was extremely Westernized.
“That documentary is something that Yao and I both watched repeatedly, repetitively, and also took our accent inspirations from. The number was about 750 Chinese Americans, compared to about 150,000 Black people and 350,000 white people. And per Frida Kwan, one of the women that was being interviewed in that documentary, that they all stayed in their lanes and everybody was fine until they crossed over.”
They were also included in the ancestors’ surreal musical montage as Sammie conjured the spirit of both Black musicians past and future and African and Asian influences and all of the beauty of these cultures woven together. Sinners masterfully opens up so many conversations about race, allies, appropriation, economic divide amongst so many other themes, there’s just so much to upack.
Make sure to stay for two crucial end credit scenes that serve as more of a climax. The film ended where it began with a bloodied Sammie returning to his fathers church with a choice to make, to give up or continue to pursue his dreams. Fast-forward to 1992, and we see Sammie made it to Chicago.
Olde Sam is played by the legendary Blues musician Buddy Guy who lent his electrifying guitar skills for the film. He’s performing in a jazz club, Pearline’s named after his first love, and is greeted by two very unexpected guests – Stack and Mary! This through the crowd for a loop, the ageless couple are decked out in hip-hop 90s gear and reveal some secrets.
While the film is exceptional, there are some minor criticisms and inconsistencies leaving viewers with lingering questions, particularly about the character motivations and the fate of the vampires. What do they want? While Remmick and the vampires appear to share a hive mind and gain each other’s memories, and also feel Remmicks pain, how much of his pain did they feel? What is the nature of the vampire’s collective consciousness? If Stack and Mary made it out, how can they now control their urges, is it because Remmick is gone, how do they survive? What are their feeding habits? Are more vampires out there? This can only lead to so many exciting ideas for potential sequels.
The pacing can feel a bit slow at first, and the accents go out at times but overall the film is an incredible, chilling, exhilarating and ambitious masterpiece that must be seen on the biggest screen possible. Coogler not only pays homage to classic horror but he digs deep into heavier themes of race history and racial-commentary. This may be Coogler’s most influential and iconic film yet.
“Sinners is my love letter to all of the things that I love about going to the movies, as a cinephile, especially watching films with an audience. It’s the communal experience—and this movie was made to be seen with a crowd of people you don’t know.”
—Ryan Coogler
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