Not yet 40, Ryan Coogler has directed two of the best MCU films ever (by a mile), helmed a legacy sequel to an iconic sports franchise, and made an action megastar out of Michael B. Jordan. Debuting with a confined, 85-minute drama based on the real-life murder of Oscar Grant by a San Francisco policeman in Fruitvale Station, Coogler has never been a one-trick pony. He injected the Marvel Cinematic Universe with unprecedented levels of craft, from his storytelling tactics to his marriage of blockbuster action spectacle and vibrant characters. And he has delivered character-focused dramas entrenched in social and political realism. So, needless to say, there has been a ton of expectation for his first-ever wholly original work, Sinners.
A 1930s-set Southern horror movie about a coven of vampires descending on a small town probably wasn’t what anyone expected of the director. Again, he’s an exceptionally versatile filmmaker, but his works have never suggested a penchant for blood and gore. And that remains true in the final cut of Sinners. It is a beautifully shot film, a spectacle to be in awe of, especially in IMAX. It’s packed to the brim with action, sex, violence, music, culture, and even a bit of Baz Luhrmann-style time jumping. It’s an enjoyable ride from start to finish, even with a hefty runtime that has you seated right until after the credits for two post-credits scenes.
But Coogler doesn’t manage to apply that same level of prowess to the film’s horror moments, particularly the vampires themselves. Not aided by a release date just months after Robert Eggers’ immaculate Nosferatu, these blood-sucking creatures end up being rather goofy, and Coogler never appears to want to truly bask in the violent carnage. Coogler has been lauded for his MCU villains being the most humanlike, and what made Black Panther so strong is exactly what prevents Sinners from being a complete success.
What Is ‘Sinners’ About?

Set in rural Mississippi in 1932, Gangster twins Smoke and Stack (both played by Michael B. Jordan) return to their hometown after seven years in Chicago. Rumors have spread across town about the twins’ line of business, from casinos to working for Al Capone himself. The twins are feared by half the town and adored by the other — a Deep South version of the Kray twins. The twins waste no time in announcing their reason for returning: they want to build a juke joint nightclub for their community, stocked with cold Irish beer and freshly fried catfish. The more austere and dominant twin, Smoke, gets to business with old work associates while the free-spirited Stack takes their younger cousin, Sammy, the gifted musician son of the local pastor, to ensure entertainment for the evening. The day brings the twins back into the path of former flames — Stack tries to avoid (Hailee Steinfeld) Mary, who has not easily forgiven Stack’s abandonment, while Smoke quickly reunites with his Hoodoo-practicing wife, with whom he lost a daughter, Annie (Wunmi Mosaku).
The juke joint — a wooden house on a rural farm — is put together in mere hours with the help of the community. As the sun sets, cold alcohol flows, Sammy’s voice is otherworldly, and it appears that the twins have built something not just successful, but meaningful. However, it’s not long before a trio of vampires, led by Jack O’Connell’s Remmick, arrive at the party asking to be let in. Left powerless by no invitation, they wait outside until they can infiltrate the crowd. When they turn someone close to the twins who is then let back inside, it’s not long before all hell breaks loose, and it becomes a full-blown showdown between an ever-growing crowd of vampires and a quickly depleting number of humans.
‘Sinners’ Is Ryan Coogler’s Best-Directed Movie

Before unpacking the handling of the movie’s horror elements, it’s still worth noting that this is Coogler’s best-looking film. It may not have the sweeping landscapes of Wakanda, but Coogler turns the Jim Crow era of the American South into a sprawling palette that feels anything but baron. This isn’t to say that the movie glorified a horrific period in history, as every shot has a troubling undercurrent of a foreboding sense of doom. Like Ari Aster’s Midsommar, Sinners is a jarring juxtaposition of the best and worst of human existence — a close-knit community full of people of color is bustling with spirit and joy, and then Stack shoots a dopey wannabe thief in the ass. Characters find things to joke about as they pick cotton in bare feet under the blazing sun. Coogler lets us dance through a night of unadulterated fun, no body movement or drop of sweat uncaptured, right before a blood-covered Jack O’Connell preys on more victims. Hope and despair are constantly at odds in Sinners, and Coogler ensures that battle is behind every single shot.
The movie’s pièce de résistance is undoubtedly the nightclub sequences, one of the most kinetic, tangible, and sultry dance moments in recent cinema. More restrained than the opening of Babylon, the choreography of the movement and dancing, combined with a truly angelic soundtrack courtesy of newcomer Miles Caton, outweighs any of the film’s horror-centered scenes. Perhaps it’s because these shots represent what Coogler is best at: excess. There are many a moments in Sinners where you’d feel it could have easily been cut, but that’s all part of Coogler’s intent. Coogler isn’t coy about being an entertainer — he throws bombastic images at us even if they may not suit his more human-focused scripts. The way he frames Michael B. Jordan — both of them — is reminiscent of how Christopher McQuarrie presents Tom Cruise to us. Coogler wants us to know that we are watching a capital-M Movie star, and even when it can get rather extravagant, it’s all part of the fun. Coogler is always tactful, but subtlety, while it won’t be for everyone, is not his style.
The Vampires and Horror of ‘Sinners’ Don’t Entirely Work

Image via Warner Bros

A major complaint in recent horror is the lack of that very bombastic style that Coogler executes so well. The quiet, restrained tone of elevated horror has become tiring and boring for those who like their horror old-fashioned, scary and covered in blood and gore. Nosferatu was a perfect balance of sophisticated visuals and genuinely terrifying monstrous imagery. Coogler and Eggers’ movies do share a lot in common — the psychosexual context of vampire tales, the framing of these creatures not just as viscous beings, but as representations of much larger issues — plague, trauma, colonization, and religious indoctrination. However, just when a vampire is about to bite down on a neck in Sinners, or we think we’re in for a blood-curdling attack scene, Coogler quickly cuts the scene before any real violence takes place. That wouldn’t be so bad if it weren’t for the vampires being… rather goofy at times. The original trio’s singsong at the nightclub’s door plays more like a Mormon welcome wagon rather than an uncanny display of human simulation.
We can tell the creatures from those who haven’t been turned because of some pretty rudimentary special effects — a tiny glint in their eyes. And Jack O’Connell’s Remmick flies high in the air, and it’s just about as intimidating as the “Hold on, spider monkey” moment from… you know what I’m talking about. As an Irish person, I also don’t know how I feel about a vampire who’s clearly meant to represent a colonizer played by an English actor singing the “Rocky Road to Dublin” while performing some goofy-ass Irish dancing — prompting a vampire céilí — and dropping in and out of a thick rural Irish accent (the character is from the American South). For a film that went to the lengths of employing an Irish culture consultant, I found this muddling of cultures and history rather jarring.
In the lead-up to the showdown, there are some great sequences when Coogler equates human sexual desire with a vampiric quest for blood… but it’s nothing new. Coogler doesn’t add anything new to the cinematic portrayal of vampires, instead relying on tropes executed by stronger horror movies. Coogler is already and rightly considered one of the best directors working today, but horror appears to be an obstacle he has to overcome.
If the Creed and Black Panther movies didn’t solidify Michael B. Jordan as a bona fide action star, Sinners surely will. Oscillating between the fun and free Stack and the stern but tragic Smoke, Jordan’s dual performance here puts all his skills on display. He has fiery chemistry with Steinfeld, while Smoke’s scenes with Annie are the most soulful of the entire piece. And just when it can feel a bit too Jordan-heavy, we’re brought back to the astounding supporting cast. Wunmi Mosaku might not be a name known by movie-going American audiences, but after some brilliant roles on television (namely The End of the F****** World, Loki and Lovecraft Country), she should be a household name. The supremely talented Miles Catton is a revelation, both in his singing and performance. As mishandled as the vampires are, the likes of Steinfeld and O’Connell are still enjoyable to watch as they literally chew up the scenery.
Sinners is an electric film sparkling with energy and passion. Coogler takes everything he has honed over the past 10 years and crafts a spectacle hoisted up by exceptional visual storytelling. The focus here is action and imagery, so the weaker character development and script than his past films can be forgiven. What can’t be ignored, though, is that Coogler isn’t yet a master of horror. And this is perhaps a great thing to happen to the cinema world. As extraordinarily talented as Coogler is, as intentional his style feels, and as talented as the performers are, horror should never be something that people dismiss as not requiring the same level of expertise. It’s not easy, and it’s not for everyone.
Sinners comes to theaters on April 18.

Sinners

Sinners is another Ryan Coogler spectacle brimming with action and energy, despite the horror components being less polished.

Release Date

April 18, 2025

Runtime

138 Minutes

Director

Ryan Coogler

Writers

Ryan Coogler

Pros & Cons

Coogler’s direction is as intentional and entertaining as ever.
The scenes in the juke joint are electrifying.
The soundtrack and musical performances are astounding.

Ryan Coogler mishandles the horror sequences of the film, cutting away in the middle of scenes.
The vampires are not very threatening and can appear overly silly at times.
Coogler doesn’t bring anything new to his portrayal of vampires.