Michael B. Jordan

Miles Caton

Hailee Steinfeld

Wunmi Mosaku

Jack O'Connell

Delroy Lindo

Omar Benson Miller

Jayme Lawson

Li Jun Li

Lola Kirke

Peter Dreimanis

Buddy Guy

Saul Williams

Andrene Ward-Hammond

Tenaj L. Jackson

David Maldonado

Aadyn Encalarde

Helena Hu

Sam Malone

Ja'Quan Monroe-Henderson

Percy Bell

Emonie Ellison

Kai Thompson

Nathaniel Arcand

Mark L. Patrick

Gralen Bryant Banks

Nicoye Banks

Christian Robinson

Justin William Davis

Deneen Tyler

Michael A. Newcomer

Theodus Crane

Ryan Coogler

Zinzi Coogler

Sev Ohanian

Ludwig Göransson

Rebecca Cho

Will Greenfield

Autumn Durald Arkapaw

Hannah Beachler

Michael P. Shawver

Ruth E. Carter

Francine Maisler

Chris Welcker

Aakomon Jones

Steve Gehrke

Lauren Spencer

Kenneth Yu

Jesse Rosenthal

Monique Champagne

Ken Diaz

Natalie Christine Johnson

Allison Lacour

Cidni Merrett

Lana Mora

Miranda Welsh

Tene Wilder

Kirby Adams

Tina Anderson

Chrissy Rosman

Amir R. Khan

Gio Paredes-Utforskare

Marvin Williams

Spencer J. Abadie

Madison Aucoin

Brian S. Freeman

Billy 'Jilly Bones' Jones

Jamie O'Hara

Brad Quintana

Nikkolas Smith

Erik van Haaren

Melissa Waltrip

Taylor Weeks

Brook Yeaton

Ryan Farris

Alyson Dee Moore

Donnie Dean

Elias Duhe Jr.

Matthew Brady Harris

Mark Hava

Liam Hoppe

Justin B. Johnson

Matt Kutcher

Isabella Abrams-Humphries

Tim Bell

Andy Gill

Eric Stratemeier

Jason Ament

Walker Babington

Ted Barba

Silas Borelly

Scheryl W Brown

Kevin Cheatham

Matt Cipro

Charles R. Edwards

Sarah Fisher

Philip Fornah

Barry Hanley

Angela Lynn Hollis

Augie Lodholz

Mike Mayhall

Stephon Rodgers

Tim J. Smith

Dother Sykes

Devante Antonio Thomas

Emily Tung

Rudolf Weber

Eli Joshua Adé

Cole Thomas Barranco

Michael Ralla

James Alexander

Espen Nordahl

Thomas Reppen

Guido Wolter

Rachel Copp

Pepe Valencia

Nick Marshall

Alun Cummins

Antoine Moulineau

Guillaume Raffi

Albert Testani

Jared Sandrew

Brian Bartolini

Steve Boeddeker

Brandon Proctor

Horror

Thriller

Sinners

Warner Bros. Pictures

Proximity Media

Domain Entertainment

United States of America

Chris Sawin

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.

Manuel São Bento

FULL SPOILER-FREE REVIEW @ https://www.firstshowing.net/2025/review-sinners-is-one-of-this-years-most-daring-ambitious-films/

"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-

Brent Marchant

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.

<em>'Sinners'</em> 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 <em>'American Pie Presents: Band Camp'</em> 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.

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 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

CinemaSerf

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.

普通话

English

How The 'Sinners' Team Brought Director Coogler’s Vampiric Vision to Life

See double Michael B. Jordan in cinemas now!

more MBJ, more MBJ, and more MBJ. yes plz.

A dynamic duo right here

every cinephile's dream job

Go on a Tour of IMAX HQ with Director Ryan Coogler and DP Autumn Durald Arkapaw

attention to detail and patience for a product that's well worth it

How Blues Music Inspired SINNERS with Ludwig Göransson and Ryan Coogler

European Premiere

who are you picking?

Louder for the people in the back! 🗣️

FANS REACT

Exclusive Cast Interview

VISTA THEATER VISIT

Sinners are here.

Get a sneak peek of Jack O'Connell & Hailee Steinfeld in this new clip

Critics and audiences can't get enough of #SinnersMovie.

Director Ryan Coogler and Director of Photography Autumn Durald Arkapaw Answer Fan Questions

"We Are All Sinners"

In theaters April 18

More picture = more scares 😱 Experience #SinnersMovie featuring our exclusive Expanded Aspect Ratio

#SinnersMovie THIS FRIDAY

IYKYK 🫶 Michael B. Jordan & Ryan Coogler reunite with Daniel Kaluuya

Michael B. Jordan at the #SinnersMovie European Premiere in London

#SinnersMovie is one of a kind.

Dancing between life and death.

Keep an eye out for the signs of the Sinners.

“There is no me without you.”

"Scared"

Audiences and critics are raving about #SinnersMovie.

From one project to the next.

IN THEATERS APRIL 18

Run. Fight. Survive.

Aspect Ratios with Sinners Director Ryan Coogler

Thrills and chills. From the mind of director Ryan Coogler, #SinnersMovie comes to theaters April 18