Pecadores

'Sinners' starts in a church, but doesn't spend too long explicitly focusing on religion, god and the devil - but does explore these themes in the semi-segregated world of 1932 Mississippi. We start with Sammie/"Preachers Boy" (Caton) and then are introduced to his notorious cousins who have just returned from Chicago - twins Smoke & Stack, both played by Jordan, who clearly relishes the run he gets to have. He plays them both subtly different enough that you can tell who's who.

It all occurs in one day, with the first hour setting the scene well, as we're introduced to ex-girlfriends - Mary (Steinfeld) and Annie (Mosaku) - plus Slim (Lindo) and Cornbread (Miller), who are brought in to help Smoke & Stack open up their "Juke" bar. Key to everything is Sammie, his guitar and the blues. We're then introduced to Remmick (O'Connell), who is a charming Irishman, hiding a sinister secret.

I won't spoil the twist, but it doesn't take long for the film to turn to a horror, and does well to start off with a bit of tension and suspense and then go full blown bloody action/fight/gore. Holding it together is the great soundtrack and score, with the music great throughout. Just over 2 hours, but never boring - solidly wrapped up, some great scenes. Stay after the initial credits, as there's a ~5min final scene.

Director and writer Ryan Coogler shared that some of his most vivid cinematic memories come from watching horror films in theaters as a young man - experiences that sparked his deep love for cinema. According to him, "Sinners" is a kind of love letter to that feeling, crafted with the hope that viewers in theaters will experience the same thrill. And honestly? Mission accomplished.

"Sinners" is one of those films best experienced with as little prior knowledge as possible - we strongly recommend not reading anything, not watching trailers, and avoiding all conversations about it beforehand if you can. The film's plot flows with organic ease, taking unexpected and refreshing turns that hit especially well if you go in spoiler-free. So we'll steer clear of plot details here, too.

The initial inspiration behind the film came from Coogler's connection to his late uncle, James, who had a deep interest in music and history, particularly in the Mississippi blues tradition. James's stories and musical tastes left a lasting impression on Coogler and sparked the creative process that ultimately became this film. As you might guess, "Sinners"is at its core a musical film. Not in the sense of a musical or a movie with original songs woven in like "Django Unchained" - rather, music is part of "Sinners"' DNA. It's interwoven into the story, the characters, and the entire atmosphere, offering a unique lens on the culture, folklore, traditions, and struggles of the Black community in 1930s Mississippi.

The man behind the original score is the multi-talented Ludwig Göransson ("Oppenheimer", "Tenet", "Black Panther"), who, beyond being a top-tier music producer, continually reinvents himself with every project he touches. "Sinners" is no exception. In his relatively short but rich career, Göransson has produced electronic scores, orchestral compositions, and even rap and R&B. Here, he pivots once again - blending the score with musical production in an inspired exploration of the Blues and Country genres, in line with the film's tone. Traditional sounds, ambient textures, and gritty audio design are all used to balance the experience.

It's undoubtedly one of the finest soundtracks we've heard in recent years - one that elevates the film to another level. Göransson continues to prove himself as one of the most gifted musicians of our era, and it's no wonder that none other than Christopher Nolan chose him as his go-to composer, following Hans Zimmer. In "Sinners", the soundtrack also features live performances and original songs, and a separate album has even been released featuring both songs from the film and those inspired by it.

Visually, Coogler made a bold artistic choice - one reminiscent of cinema's greatest auteurs, like Nolan and Denis Villeneuve - to shoot the film using wide-format film stock, opting for analog cinematography. Specifically, the most grand and pure formats available: IMAX 15-perf 70mm and Ultra Panavision 70mm. This wasn't just an aesthetic decision, but an effort to merge the raw texture of classic cinema with the sheer visual power of modern technology - a symbolic gesture aligning with the themes the film explores. Coogler even sought guidance from Nolan himself, along with Emma Thomas, to master the use of these formats - not for bragging rights, but to amplify the film's emotional weight.

Another standout aspect of the film is the screenplay. It's written with a natural rhythm and flow, featuring smart, unexpected humor and effortlessly blending a range of genres. Coogler, who served as both writer and director, brings the script to life with mastery, drawing the best out of each genre he touches. Above all, his use of the IMAX format is impressively deliberate and effective.

Michael B. Jordan plays two distinct characters in the film - and not in a gimmicky or disconnected way. These characters interact constantly - they're twins - which makes for a serious acting challenge. Jordan rises to the occasion, and the visual effects team behind the scenes pulls it off beautifully, with impressive execution on every technical level. Visually, the film is nothing short of stunning.

Alongside Jordan, musician Miles Caton gives a remarkably strong performance in the second lead role. I was genuinely surprised to learn this was his first-ever acting role. Jack O'Connell is also outstanding, and the radiant Hailee Steinfeld dazzles on screen and delivers a compelling performance. While she doesn't sing in the film itself, she is featured on the movie's official soundtrack. Overall, the cast is excellent, and the chemistry is on point.

Every few months, there comes along an event film that simply must be seen - and "Sinners" is unquestionably one of them. It's one of the best films we've seen in recent memory: energetic, gripping, occasionally funny, with a sharp script, top-tier directing, brilliant performances, and musical ingenuity that stuns scene after scene. It has all the makings of a strong contender for film of the year. We highly recommend watching it in theaters - in the best auditorium you can find. IMAX, if possible, is absolutely the way to go.

Written by Dvir971 & Orr971.

For years I've been emphasizing the importance of music in movies; how an amazing musical score can significantly elevate a movie. It shouldn't just be background dressing. It should be brought to the forefront. It should drive the story. It should be a character in itself. It should give you goosebumps in the big moments. Sinners is one of the best examples of this.

Aside from the music, I could tell I was watching high-quality filmmaking within five minutes. The directing, camerawork, editing, and sound design are pristine. The entire cast does a great job, but Michael B. Jordan shines. He is a superstar.

Sinners is also surprisingly funny, without taking away from the seriousness. And the horror elements are... satisfying. This movie goes hard.

Advice: Certain scenes have an expanded aspect ratio that will only be shown in IMAX. If you can't go to an IMAX, any premium screen will do (Dolby Cinema, UltraScreen, EMX, etc). This movie benefits more than most from the larger screen and louder speakers.

Also, I missed A LOT of the dialogue, you may want to ask for a closed caption device.

(1 viewing, opening night IMAX 4/17/2025)

You came in expecting fangs, stakes, blood, smoking crucifixes and girls screaming. You imagined an arty version of Blade, with Michael B. Jordan staking vampires between sets of push-ups.

Well, guess what, buddy? Surprise: you walked into a Ryan Coogler film that serves you blues, poetry, and Black pain like a sacred offering.

The film plays like The Legend of 1900 remixed by Robert Johnson mid-satanic pact. The horror? It's a metaphor. The monsters? Symbols. And you, the viewer? A willing victim who realizes twenty minutes in that you're not watching a slasher... you're deep in a mystical odyssey shot like a fever dream on opium.

Twins. One actor. Zero missteps. No crappy green screen, no clunky split-screen from The Parent Trap. Nah-this is clean, surgical, fluid. You'd swear the guy was cloned in a cave by a Shaolin monk.

And the wildest part? He plays both brothers with completely different energies. One radiates light, the other broods darkness, and both exude elegance and pain in equal measure. This isn't acting-it's black magic. At this level, it's no longer performance-it's full-blown demonic possession captured in 4K.

Want originality? You got it. No looped rap tracks like in 99% of U. S. films about Black characters. Here, it's the blues. The real stuff. The kind that comes from guts, chains, cotton fields, and dust. And believe me-it cuts deeper than a Slash guitar solo strung with prison wire.

Every note haunts you. Every chord summons ghosts. The music is a doorway between worlds, a call to the Old Ones, a ritual that raises goosebumps. Ryan Coogler delivers a film where the score isn't just background-it's a damn hex. You don't listen-you endure it. And you want more.

There's one scene. Just one. But my God. Straight into the cinematic hall of fame.

The party scene.

At once orgiastic, sacred, primal and cosmic. It's Eyes Wide Shut in the bayou. There's voodoo, groove, bodies melting together, lurking entities, and a one-take shot that knocks the wind out of you like three shots of mezcal and a bad peyote trip.

It's not just well-made-it's divine. Filmed from the gut, edited with fire and silence, it grabs your stomach and wrings out your spine. The kind of scene that makes you believe God listens to the blues in a sweaty Louisiana basement.

We love Coogler. But someone needs to tell him: bro, your intro plays like an episode of Murder, She Wrote. You wanna build atmosphere? Fine. But don't make us wait an hour with "Twins Return to the Village and Do Mystical Gardening."

It drags. It stretches. You wait for the film to kick in like you're waiting for meaningful reform in France. Meanwhile, flashbacks hit every ten minutes, reminding you that pain is apparently a damn art form.

It's noble, it's deep-but man, it's long. This needed some trimming, less Terrence Malick meditation, and a bit more fang in this occult fable.

You came for chills, you got a full-on spiritual initiation drilled into your spinal cord.

Sinners promises the Devil, delivers the blues, and implants visions in your mind. It's slow to start, yeah.

But when it hits... it hits like a sermon from Hell.

It's not a slap. It's an incantation. A trance. A film that doesn't scare you-but follows you into your dreams like a damned old bluesman whispering in your ear with B. B. King's voice and the stare of a demon.

And that's when you get it: When you dance with the Devil long enough... It's not him coming to you- It's you who opens the door.

Sinners is a historical horror directed by Ryan Coogler (Black Panther, Creed) which smartly combines the supernatural with the political.

The cinematography is stunning, which accurately captures the 1930s western vibes. While the movie starts pretty slow and takes time for the build up, it picks up in the second half by delivering a haunting experience. The movie often feels very lively due to it's musical numbers.

The film's fascinating array of genres and tropes and ideas swirls together, whether be it oppression of race, or preaching of good and evil. Jordan gives a great performance, while the rest of the cast were terrific too.

Although the horror element was less than my expectations, however the political satire and the tense atmosphere makes Sinners a great movie.

The Geek Reviewer gives 4 stars for 'Sinners'.