There seems to be an unwritten rule for prolific film auteurs that decrees they must venture into full-blown horror at least once in their careers, even when they are best known for working in other genres. Some will be one-and-done, such as Stanley Kubrick with The Shining or Kathryn Bigelow with Near Dark. Whereas others can find new avenues to explore and will stick around for a few experiments, such as Steven Soderbergh (Unsane, Presence) or Alfred Hitchcock (Psycho, The Birds). Add to that list Ryan Coogler. Best known for the MCU Black Panther and the Rocky-extension Creed movies, he’s now busted out his first horror, and it’s already garnered enviable critical acclaim and an impressive RT score (98% at the time of writing). How so? Well, it’s a period horror film, with a central concept of vampires being a bit bitey in the deep South during the 1930s. So far, so average. But it also stars Michael B. Jordan (in dual roles), Hailee Steinfeld, Jack O’Connell, and a varied cast, some of whom can hold a mean tune and strum a keen string. At nearly 2 hrs and 20 minutes, it’s not a quick exploitation effort either, with some vivid characterisation and a multi-layered plot. With a simultaneous release in the UK and US, it’s time to see if this project is really something you can get your teeth into.

 

It all starts with a cast member returning to their church and dramatically interrupting the service. Battered, bloodied, bruised, it looks like the Devil’s had their way with them. From that point, the narrative zaps back 24 hours and introduces us to the “Smokestack” twins. The brothers, Elijah "Smoke" Moore and Elias "Stack" Moore (both played fluidly by Jordan with distinct characteristics), have returned to the Mississippi Delta after many years in Chicago and service in WWI. In that time, they have gained a formidable reputation in their hometown, having been rumoured to be in the employment of Capone and other gangsters. Using money that they have (likely) stolen from the Italians and the Irish cartels, they buy property to turn into a “juke joint” for the local Black community, which is centred in the cotton plantation. For opening night, they recruit the local talent for entertainment and support. This includes Sammie “Preacher Boy” Moore, a cousin and prodigious blues singer/guitarist (newcomer Miles Caton) who can plainly go far if he escapes the church and plantation confines. However, all this coincides with the arrival of the mysterious Remmick (Jack O’Connell, clearly having fun with the role), who has just escaped the clutches of First Nation hunters. He’s attracted by the soulful resonations of the joint, and he has some big plans for the customers inside.

 

Sinners is an odd film. No doubt about it. By all rights, it should be a hot mess that fails to gel and won’t capture the attention of mainstream audiences. So why all the hype and thumbs-up then? It is especially strange for an R-rated horror to get this sort of attention, let alone for the fact that it’s during an Easter weekend and in competition with a record-breaking family film like Minecraft. A lot of that probably comes down to the goodwill garnered by Coogler from the original Black Panther (the sequel, not so much), Fruitvale Station, and the Creed franchise. In those movies, he established his directing credentials, combining great cinematography and visual spectacles, alongside harsh issues that don’t patronise the audience with easy answers or one-sided judgements. In addition to this, Jordan is a respected actor who becomes the MVP (twice) in this yarn. And then there’s vampires and the blues. The toothy menace of Remmick and his compatriots was hidden in the first trailer but was blatantly obvious in later promotions. So, there was also a curiosity from many potential viewers as to how Coogler would handle the paranormal in such material.

 

Pretty well as it turns out. There’s nothing “new” or strikingly original about these bloodsuckers. In fact, Coogler double-downs on the expected lore and “rules”. They’re intolerant of garlic (cue an amusing homage to the blood-test scene from The Thing), burned by sunlight, susceptible to stakes in the ticker, and need an invitation to enter a building. That last law becomes surprisingly important in proceedings, as it allows for several narrative twists and creates mucho tension around standoffs in shelters. Sinners also earns its R-rating (15 in the UK) in spades with fleshy chunks torn out of shoulders and spurting wounds in evidence. This is in addition to some sultry sexy times and a mature attitude towards several touchy subject matters, including Jim Crow laws, the KKK, and racist language from all quarters. On a lighter (if more frivolous and inappropriate) note, you also get the opportunity to hear Hailee Steinfeld get uncharacteristically potty-mouthed.

 

That’s all important stuff and great for horror fans, but it would be well to note that this is certainly not the primary focus of the plot. It’s a story of three parts, and the horror only comes to the front in the final third. The first act is the brothers returning and confronting their past, the second act is the opening night of the joint, and the third act is the siege and battle section. It does smack of From Dusk Til Dawn and Coogle admits that this was one of the major influences on the story (the other being The Faculty allegedly and weirdly). Whilst Remmick skulks around the events in the first acts, he doesn’t confront the brothers until well into the running time. This would be a serious misstep (especially for die-hard horror fans), if the rest of the movie wasn’t so damned good! Sure, if you take it at face value, the 1930s gangster schtick could be grating if you don’t like that sort of thing. But it’s all infused with a subtle underscore of strangeness that is sort of intoxicating. Smoke’s estranged wife knows the occult, and it’s suggested that she has protected the twins' well-being, as well as having useful knowledge about vampires.

 

Then there’s the surreal quality that comes from the concentration of blues music and its importance to cultural history. In one bravura moment, “Preacher Boy” sings a song that is so powerful that images of the past, present, and future all come together in one place. Electric guitars riff with African dancers and rap stars break dance with Chinese artists. Yeah, it sounds corny, but it’s absolutely charming in execution and powerful in a one-take shot. It’s like David Lynch does West Side Story. The point here is how a specific type of cultural power (blues music in this case) can transcend its surroundings and become a lynchpin for humanity itself. Sounds pretentious, but it makes sense and works narratively without interrupting the plot. It’s moments like this (as well as the bloodthirsty twists and heartfelt losses) that really makes “Sinners” shine. You have to admire a film that makes Irish folk songs sound menacing and presents the performance of “Riverdance” as a prelude to battle. No, really!

 

A moment should be taken to consider the work of the cast, all of whom are engaging and totally flawless. Jordan is pitch-perfect in both of his roles, Steinfeld is slinky and striking, and O’Connell is seemingly having the time of his life, being able to show a violent side along with Irish singing and dancing. Special mention must also go to Delroy Lindo in a humorous role that never becomes a pantomime, Wunmi Mosaku excelling in an important part, and Miles Caton as the core of the whole story. The time spent building these characters makes the denouement more of an emotional investment that it might have been. Coogler adds some neat details that are all the more impactful for their subtlety. A deadly vampire pounce is cut away from before it connects, and a foot-stomping song is intercut with some poor sucker getting a beating. Also, there’s the visual easter egg of three carrion birds circling areas where death is about to strike, and the importance of the possession of Smoke’s voodoo protection charm.

 

Is it the “perfect” film that some critics are harping on about? Well, no. Some people are going to be disappointed at the lack of vampiric content, and the climax in no way approaches the chaos that was seen in From Dusk Till Dawn or similar movies. The emphasis on the power of culture and community, along with the importance that music plays within that is not going to blow every viewer away. But despite that, and a lack of originality with the bloodsuckers, this still works as a piece of powerful entertainment and is certainly not exploitative fluff. Due to its budget and promotion, it will probably not be a massive moneymaker either. Nevertheless, you have to admire the energy and conviction that’s infused into the film, along with the impressive performances it has. Because of that, it feels like a fresh and non-conformative horror, something which is nice to see in this time of franchises, sequels, and remakes. So, amen to that brother, and here’s hoping that Coogler isn’t done with horror yet. Given the rumours of an X-Files project that are being linked with him, that certainly seems the case.