I'm not sure how this movie can get such great reviews. The acting isn't particularly good, and the plot is about as deep as a beer can. It might be okay to watch once, but it's not really good.

Horror films well done are supposed to leave you scarred and weave their way into your conscience, for they represent the worst of what we don't want to acknowledge in our societies. And that is Sinners for you, too, not just a story of racial tensions with music and mythic creatures: it brings forward many questions about race, class, capital, reconstruction and assimilation. By the hand of an incredible cast and a format that has you mourning beginning to end.

Movie Review: Sinners (2025) A gripping and refreshingly original addition to the vampire genre, Sinners fuses its blood-soaked mythology with a rich musical sensibility that feels deeply tied to its era. There’s a hint of the Cornetto trilogy’s off beat charm, but the film ultimately leans into... Movie Review: Sinners (2025) A gripping and refreshingly original addition to the vampire genre, Sinners fuses its blood-soaked mythology with a rich musical sensibility that feels deeply tied to its era. There’s a hint of the Cornetto trilogy’s off beat charm, but the film ultimately leans into a more grounded exploration of family, artistry, and social division. The cinematography is superb stylish yet controlled and the direction brings a confident rhythm that complements its thematic depth. Strong performances across the board elevate the drama, making Sinners a standout genre piece. Review: 8/10

**_Anima Vestra._** What you crave will soon be yours; what I crave is already mine. Equilibrium in desire, halved in all else that matters.

This was alright, decent vamp flick, but I don't really get the super high praise for this movie. I liked the lighting in the final scene. Ham on face.

**Capitalism as the Real Monster: How "Sinners 2025" Uses Vampires to Critique America** The movie takes place in the United States during the era of racial segregation, when problems between whites and blacks were escalating. Films about this era depict an important part of American history, an asp... **Capitalism as the Real Monster: How "Sinners 2025" Uses Vampires to Critique America** The movie takes place in the United States during the era of racial segregation, when problems between whites and blacks were escalating. Films about this era depict an important part of American history, an aspect America tries to hide and avoid discussing. The film features two twin characters, "Stack" and "Smoke," played by Michael B. Jordan. I was impressed by this, as it's rare to find an actor playing twins in a good way. There's a special chemistry between Michael B. Jordan and director Ryan Coogler, and when they work together, they produce wonderful works of fiction. The film is a love letter to blues music, but after 60 minutes, you suddenly discover it's about vampires, and you realize it's a horror film. It's a vampire film mixed with a racial narrative, which made me associate it with Get Out (2017). This genre—invented by Get Out—is horror mixed with a satirical racist critique. I thoroughly enjoyed it. What I understood from the film—or reading between the lines—is that it's a commentary on racism in the United States, but it also discusses the music world and how capitalists are trying to control the art world to ensure the dominance of white men or those they choose. The film portrays these people as big sharks seeking to corrupt the music world.

It's a reboot of 'From Dusk til Dawn'. But... From Dusk til Dawn is a much better movie! As a period piece it's pretty good... but the storyline is a total snore-fest.

this movie is absolutely beautiful. i was hesitant to watch it because i don’t care for vampire stories, but this is way more than just a “vampire story.” it shows the beauty of black culture while also discussing the very real aspect of oppression, especially back in the jim crow era, where t... this movie is absolutely beautiful. i was hesitant to watch it because i don’t care for vampire stories, but this is way more than just a “vampire story.” it shows the beauty of black culture while also discussing the very real aspect of oppression, especially back in the jim crow era, where this movie takes place. the scary scenes were scary, the sad scenes were sad, and everything in between did it’s job correctly. i wish i could see this movie for the first time again. every actor did amazing in this, but miles caton, the actor for sammie, did a phenomenal job… finding out this was his first big role was a shock. this movie is an excellent conversation starter for multiple different topics because of how impactful it is. ryan coogler is a director that is a force to be reckoned with. absolutely stunning movie

ALERT: might be spoilers lurking here. Thankfully I didn't see any film trailers but I did glance over a few magazine covers to see it was a movie about twins and vampires. What I didn't know was that it was also a period piece so that was a surprise. How the vampires appeared was also a surprise. I... ALERT: might be spoilers lurking here. Thankfully I didn't see any film trailers but I did glance over a few magazine covers to see it was a movie about twins and vampires. What I didn't know was that it was also a period piece so that was a surprise. How the vampires appeared was also a surprise. I thought one of the twins was already a vampire and had somehow hidden it from his brother. I liked the Stephen King aspect of ordinary day turning to sh!t and good luck surviving. What was missed in all the reviews I saw here: spiritual and cultural aspects that may have gone over folks' heads. Did anyone understand Mary's real link to the Black community? What does her survival as a vampire say about that precarious aspect of her previous life versus her life after life? Did anyone see an almost mockery of religion in the vampires' siren call and the "triumph" of the Black church in Sammie's survival? How does this flow with narratives of good versus evil? Freedom is an overarching theme. Free to go north and work for gangsters. Free to own property/open a juke joint. Free to enjoy an evening of dance and drink. Free to LIVE. Money is supposed to bring freedom but money that spends only in the Delta won't free anyone. Music offers the unification that could quell separatism but isn't always able to deliver the promise. Musicians forced to play for racists by the police. Vampires singing to lure Sammie out. The singing at church. The singing in the juke joint. Sammie surviving to sing and play for several more decades. Any freedom in the world of Sinners is temporary at best. This movie is multi-layered. You have to see it multiple times to see it. I'm guessing each time you will see and hear something you missed the time before, giving you a different perspective each time.

Full disclosure, I've been to Clarksdale and it is the best. This film is like Morgan Freeman's juke joint. I liked the compact, intimate nature of Red's more. Middle of this is draggy. Parties aren't that fun to watch. There are a lot of quick and intense action bits to wake up for but at the same ... Full disclosure, I've been to Clarksdale and it is the best. This film is like Morgan Freeman's juke joint. I liked the compact, intimate nature of Red's more. Middle of this is draggy. Parties aren't that fun to watch. There are a lot of quick and intense action bits to wake up for but at the same time...it's long. Why do movies have to be so long? Why does the ending of this have to be even longer? Why did survival have to be so impossible as to remove all stakes? Just a big, bloated juke joint of a film. But still. Killing klan members and vampires is fun. Great action bits. Fun use of traditions. Likeable characters.

It's a vampire movie. They really hate White people. Sick of this proud to be racist crap.

Michael B. Jordan is “Smoke” and twin brother “Stack” in this classy drama of a pair who’ve lived on the wrong side of the tracks for most of their lives, but have determined to go home and try to go straight. To that end, they buy an old barn and hope to set up their own speakeasy - with ... Michael B. Jordan is “Smoke” and twin brother “Stack” in this classy drama of a pair who’ve lived on the wrong side of the tracks for most of their lives, but have determined to go home and try to go straight. To that end, they buy an old barn and hope to set up their own speakeasy - with only a nominal nod to prohibition - pumping to the rafters with dancing and blues music. On the way, they ally with talented musician “Sammie” (Miles Caton) and, of course, there’s a bit of baggage for the siblings as they return to a town that’s not altogether welcoming. Once home, a mixture of confidence, threats and collective charisma succeeds in assembling a crowd for their opening night. Pretty swiftly, though, that grand celebration attracts the attention of some travellers who are keen to join the party, but perhaps in true Charlie Daniels style, they have an altogether more menacing agenda. This is the cinematic equivalent of an LP, this film. It starts with one side gradually introducing us a rich collection of characters all of whom could quite plausibly have lived in Mississippi at a time when segregation was as rife as illicit booze, and the two more recently hailing from Chicago gives things a certain gangster element too. There is also a very subtly powerful effort from Hailee Steinfield as “Mary” too. The flip side of the record proceeds to develop some elements of peril with the story, and that’s where it rather runs out of steam for me. It tries very hard to create a sense of hot, sweaty and frenzied jeopardy, but maybe because it has already taken quite a long time to get to this stage, that all comes across as a bit rushed and lacking in punch. It looks great, the visual effects are convincing enough and the production design smoulders perfectly. In the end, though, whilst it proves that MBJ is comfortably able to hold a story, Ryan Coogler has overly relied on a marvellously toe-tapping musical score that has been left to do much of the heavy lifting. That latter point is made more essential by a mediocre audio mix that can make the dialogue quite difficult to make out more often than I’d have liked. This seems to be an increasing issue as directors become more ambitious with their visual aspirations leaving the one thing that cannot be readily faked/augmented - the sound - left at the altar. It’s a cinema film, and will look distinctly average on a television so big screen and soundtrack audio is essential to get the best from this silky looking story with an interesting twist at the end, and again at the very end.

Sinners started off similar to a gritty drama in the Deep South, every character felt so built and I was fully invested. Then the vampire elements started twirling in. That first fade into the moon, the guitar riff, unbelievably hard Mr. Coogler. It gave a feeling I haven’t felt since watching dun... Sinners started off similar to a gritty drama in the Deep South, every character felt so built and I was fully invested. Then the vampire elements started twirling in. That first fade into the moon, the guitar riff, unbelievably hard Mr. Coogler. It gave a feeling I haven’t felt since watching dune 2. Oh and the scene where we go through the history and future of music, best scene of the decade maybe? That juke joint was heaven for clarksville that night, a place where people could finally let loose and forget about all their work to enjoy powerful music, rooted in their ancestry. I ascended to heaven, and I’m not coming back down. Under here is a review I wrote in a discord server you don’t need to read it it’s pretty basic: Sinners is the new film from Ryan Coogler, and his first fully original story. This movie just proves how awesome and competent of a director Ryan Coogler is. This movie expertly genre blends drama with horror, which all encompasses the theme of black ownership, music, and religion. Sinners is one of the best new movies I’ve seen this decade. The cinematography (which I luckily saw in 70mm IMAX) was so beautiful and had chills every time the frame would expand to show off a landscape, and breathtaking sunsets and sunrises. Sometimes the frame would transition from a haunting to a beautiful moonlight which was backed by the 10/10 musical score. I will mention more later. BTW this movie has one of the BEST SEQUENCES that will make you ASCEND IN YOUR SEAT. Jaw was dropped. It’s not even a horror sequence. The horror elements are so well used in this movie, it’s like kissing somebody and you get a tingle everywhere when something awesome happens. Everything is so badass and goes hard. The action made me shake for the whole 3rd act, it ruled. The end got very emotional too. So so so freaking perfect. See this in a theater. Oh yeah the score. THE GUITAR SHREDDING AT THE BEST TIMES OHOOHOHOHOOH 10/10

I don't think I liked it as much as most people seem to, and definitely not as much as the critics, but think this movie nailed about 85% of what it tried to. The setting, music, costumes, makeup, gore, and effects were exceedingly well done. The film is well-acted (Delroy Lindo was the standout) an... I don't think I liked it as much as most people seem to, and definitely not as much as the critics, but think this movie nailed about 85% of what it tried to. The setting, music, costumes, makeup, gore, and effects were exceedingly well done. The film is well-acted (Delroy Lindo was the standout) and it was definitely worth seeing in the theatre. My only complaints are that the ending felt rushed, there are a couple of oddly out of place surrealist sequences, and the villain was weak. It's a fairly long film already, but I think it would have been better if we'd gotten to see another 10 minutes of the interaction between the villain and his initial pursuers, and a few flashbacks would have been helpful. I also think this story would have worked better as a TV series, but still, a very original and enjoyable film. It reminded me a fair bit of the first season of Interview with a Vampire.

'Sinners' is a fair load of fun. It admittedly didn't fully knock my socks off, but there isn't any doubt that it is a very good film. It's stylish with impressive music and visuals, whilst all of the acting talent give good performances. It's paced astutely too. Michael B. Jordan is as ent... 'Sinners' is a fair load of fun. It admittedly didn't fully knock my socks off, but there isn't any doubt that it is a very good film. It's stylish with impressive music and visuals, whilst all of the acting talent give good performances. It's paced astutely too. Michael B. Jordan is as entertaining as he usually tends to be, I do like seeing him act. The dual role is done well here, the 'split screen' is solid but my brain sillily - no matter the movie or standard of how they portray the same actor twice - simply cannot interpret the effect as seamless. Jack O'Connell stands out behind Jordan, particularly for the moments of sing. Hailee Steinfeld and Wunmi Mosaku are the others that I took notice of too, same can be said for Delroy Lindo, Li Jun Li and Omar Miller; I oddly always think of 'American Pie Presents: Band Camp' with the latter (I'm so sorry, Omar). I must say, the trailers revealed too much. I tend to avoid those so assume I didn't get the full brunt of it anyway, though even so I remember catching a couple of bits that don't occur until the gritty part of the movie. It's no biggie, trailers are designed to get bums on seats after all.

It’s always gratifying to see a filmmaker take a big step up in his or her career, and that’s precisely what writer-director Ryan Coogler has done in his latest offering, a project that reflects a significant jump in the depth, artistry and sophistication of his creative output. Coming on the he... It’s always gratifying to see a filmmaker take a big step up in his or her career, and that’s precisely what writer-director Ryan Coogler has done in his latest offering, a project that reflects a significant jump in the depth, artistry and sophistication of his creative output. Coming on the heels of his successes in “Black Panther: Wakanda Forever” (2022), “Creed” (2015) and “Fruitvale Station” (2013), Coogler has hit a home run with this period piece smart horror story about identical twin brothers (both played by Michael B. Jordan) who return to their Mississippi home in 1932 after years of working for Al Capone in Chicago, where they made huge money that they now plan to use to open their own juke joint in a converted sawmill. It’s an opportunity where they hope to make even bigger bucks while helping to promote their talented cousin, Sammie (Miles Caton), a blues musician who’s a killer guitarist and vocalist. But, as this ambitious trio launches this effort, they’re confronted with a variety of challenges, including ghosts from their past, the perils of deeply ingrained social prejudice, the dual-edged sword posed by creative and financial success, and, most menacingly, mystical forces that may be more than they’re capable of handling. These narrative components combine to tell a captivating tale about a troubled time in the country’s history, one made all the more ominous with the appearance of supernatural powers that simultaneously offer both potential promise and the prospects of tremendous evil taking root. In bringing this picture to life, the filmmaker has served up an entertaining and engaging offering, one replete with fine performances, superb production values, sharp-edged, perfectly timed comic relief, truly inventive, deftly orchestrated cinematography, and suitably restrained (graphic though not gratuitous) imagery. Admittedly, the screenplay could use some work in a few spots (most notably with tighter writing and clearer plot elaboration), but it also manages to successfully fuse the inherent nature of several genres, including drama, dark humor and smart horror, while also presenting a wealth of insights in an array of areas. Through this picture, it’s easy to see how Coogler has appreciably upped his game as a filmmaker, one that bodes well for his future in the field. It indeed represents the revelation of a talent more profound than anyone has previously recognized or properly acknowledged. “Sinners” is a work that deserves to be remembered come awards season later this year. Let’s hope that it is.

FULL SPOILER-FREE REVIEW @ / "Sinners is living proof that major studios can still produce artistic, provocative, and emotionally resonant movies. With Ryan Coogler's confident and creatively daring direction, an unforgettable, award-worthy score, a strong ensemble cast, and a thematically rich expl... FULL SPOILER-FREE REVIEW @ / "Sinners is living proof that major studios can still produce artistic, provocative, and emotionally resonant movies. With Ryan Coogler's confident and creatively daring direction, an unforgettable, award-worthy score, a strong ensemble cast, and a thematically rich exploration of racial oppression, cultural identity, and spirituality, this is undoubtedly one of the most impactful films of the year so far. An intense, memorable spectacle with a sharp social commentary - and one that demands to be seen on the biggest screen possible." Rating: A-

Set in 1932 in Clarksdale, Mississippi, Sinners takes place throughout one night in the middle of October. Sammie Moore (the feature film debut of Miles Caton) is at a crossroads in his life. He is torn between being the son of a preacher and the blues-driven nightlife where he gets to sing, play gu... Set in 1932 in Clarksdale, Mississippi, Sinners takes place throughout one night in the middle of October. Sammie Moore (the feature film debut of Miles Caton) is at a crossroads in his life. He is torn between being the son of a preacher and the blues-driven nightlife where he gets to sing, play guitar, and feel alive. Sammie submerges himself in the blues seemingly having little desire to return to his family’s religious roots. Sammie’s twin cousins Smoke and Stack (both played by Michael B. Jordan) have just returned home after spending seven years in Chicago. With a mobster-like reputation, the twins intend to jumpstart a new jukejoint at an old sawmill previously owned by Klan members. However, they want the grand opening to be that very night, have several arrangements to be made, and have little time to get it all done. As dusk turns to night and the twins’ new club seems to be off to a successful grand opening, an unspeakable evil lurks on their doorstep waiting to be invited in. Writer and director Ryan Coogler (Black Panther, Creed) was highly inspired by the works of Robert Rodriguez, so it’s no surprise that Sinners feels like a blacker and more blues-driven version of From Dusk Til Dawn. Sinners is a supernatural action horror film, but it takes its time getting to the horror. The first half of the film is like a well-written gangster film mostly driven by dialogue while introducing a cast of characters that are mostly all worthwhile and entertaining in their ways. Smoke and Stack have two extremely different personalities with opposing fates in Sinners, which must have been incredible for Michael B. Jordan. Smoke is more serious and lethal like a soldier while Stack is more eccentric and playful in his demeanor. Smoke also wears blue while Stack wears red. The dual performances allow Jordan to dip his toes into being a hero and a villain, two different types of music, and the dark and the light. This is a vampire film, but it’s also a film about music. Music is the most important aspect of Sinners. The film states that the power of music can heal communities and attract evil. The initial battle between those within the club and the outside dwelling vampires starts as a mostly blacks versus whites standoff but evolves into something much more elaborate. Like all Ryan Coogler films, Sinners is extremely black-centric but the film also incorporates several different nationalities in a period when whites thought they were the only decent race. The grocery store owners are Chinese, a biracial girl follows Stack from the north back down to the south, and Remmick (Jack O’Connell), the lead vampire, is introduced being chased by Native Americans. The African aspects allow for a deeper appreciation for the film’s stellar score and put much-needed rejuvenation to the cinematic vampire. Sinners is also a clashing of music genres with the human characters strumming on the blues side of things while the vampires and outsiders lean into Irish folk music and jig dancing. There is this jaw-dropping sequence within the wooden walls of Club Juke when Sammie finally gets to show how talented he is as a musician. It showcases all types of music, classic and contemporary, that have essentially evolved from or been inspired by gutbucket blues (blues or jazz music featuring raw emotions and a gritty, soulful sound). Vampire folklore is toyed with in a way that is incredibly satisfying in Sinners. The concept of being invited in is something the film approaches extremely well. Music is utilized by both sides to either attempt to keep the living together and safe or to lure them outside to become part of a red-eyed, bloodthirsty pack of undead. There’s the typical lore you expect in a vampire film like trying to use garlic to fend them off and making wooden stakes to drive through their hearts. But in other vampire films if you kill the head vampire it can either cure those that have been changed or kill all of them. Sinners takes a different route stating that each vampire has to be killed regardless on if their leader is slain. Hoodoo also plays a major part in the film. Wunmi Mosaku (His House, Deadpool & Wolverine) portrays Annie. Annie has an emotional connection to Smoke, but she also practices hoodoo, which allows her to be the voice of reason when bodies start piling up. Sinners is one of the horniest films to come out of the first part of the year. Films have kind of shied away from showcasing nudity and sex with recent films. Everyone in Sinners is bursting with lust and when they’re not in the middle of copulating or performing cunnilingus or fellatio they’re talking about it in graphic detail. Sinners is a scary, hilarious, and gloriously horny bloodbath with one hell of a bluesy score. An instant, masterful, and exceptional horror classic that deserves to be seen on the biggest screen possible.