Ryan Coogler's "Sinners"

A BONUS FILM.

RYAN COOGLER’S “SINNERS”

WHAT IT IS.

A spoiler-free description of the movie.

In 1932, twin brothers return to their Mississippi hometown to start a juke joint.

IF YOU LIKE.

If you like these things, then you’ll like the film.

▶ Michael B. Jordan. There’s two of him in this movie. Cue the Michael A. Jordan jokes.

▶ Period pieces. Detailed costume work. Old cars. Dirt roads and wood-paneled buildings with insufficient insulation. Yes, homes in the 1930’s didn’t have great insulation. I looked it up. I’m super smart.²

▶ Blues, humor, horror. Blues music plays a huge role in this film. I expect even folks who don’t love horror films will find things to love about this movie.

MY TAKE.

What I liked about it.

The first time I saw “From Dusk Til Dawn”, I came to understand something. That movies didn’t need to fit into one single genre. Further, the films that can’t be filed away into a single category; these ones are often the most memorable.

For many theatergoers, I suspect writer-director Ryan Coogler’s “Sinners” will produce a similarly profound response. And, comparing it to any other film probably undermines its originality.

The theater where we saw “Sinners” was unusually crowded for a Tuesday night (I would know). Every seat was occupied. Someone shuffling into his seat looked over at me and asked me if my name was Robbie. I said no. He laughed and said that I looked like a Robbie.

Quickly, my brain began producing super fun antisocial thoughts. Most notably: “Shit, I guess I have to share my armrest” and “I hate the sound of crinkly snack bags in the theater.” I’m a pleasure to be with in public.

Then, the film started.

Every actor in the film fully gave themselves to their performances, from show-stealing newcomer Miles Caton (who I’m certain we’ll see more of) to longtime performer Delroy Lindo. Lindo as “Delta Slim” is particularly notable as the film’s comedic relief.

Relationships between characters felt real, lived in. The edit was patient, giving each relationship room to breath and the audience a chance to understand them.

The story trades in themes of equality, Black participation in capitalism, the struggle between the confines of orthodox religion and the freedom that music often offers.

The film was shot for IMAX. Compositions of 1932 Mississippi, sycamore trees and the like, were breathtaking. As was the set design. Coogler plays with aspect ratios a few times, which added gravity to the more potent moments in the film.

There was one scene in the film – you’ll know the one when you see it – that was such a marvel. The music. The dancing. The horror. The joy. So much so, that during the scene, I couldn’t contain myself.

I looked over at my brother to say something inane, like “this is awesome”. But when I looked over, he was grinning, ear-to-ear, entirely engrossed. I’ve seen him this happy twice before. The day he got married, and the day he became a father. I’m kidding (sort of). I said nothing. I couldn’t interrupt his bliss.

Like the film itself, the soulful, eclectic score refuses to be categorized. Rambling bluesy guitar, characteristic of the film’s setting in the Mississippi Delta (the birthplace of blues). Echoes of late 80’s horror flicks like “The Lost Boys”.

Composer Ludwig Göransson’s score eventually morphs into a Frankenstein’s monster of these elements and others more unexpected; Irish folk, church, house, and tribal music to name a few. I’m not sure I’ve heard anything like it before.

Parts of the movie had everyone in the audience laughing their asses off. Others elicited shrieks, shock, tears.

By the end, I wasn’t annoyed to be in a crowded theater. I was thrilled. I felt like I was sitting with friends. I caught Robbie guy’s gaze and asked him if he liked it. He looked back at me with a smile and said: “It was perfect.”

It’s true. We’d witnessed something spectacular together. I drove home feeling irrevocably reminded of why I love movies in the first place.

Enjoy the film, and don’t wait until it is streaming. See it in IMAX.

OH, NEAT.

A fact or two about the production that makes you say “oh, neat”.

▶ Composer Ludwig G. performed parts of the score with a 1932 Dobro resonator guitar — the same guitar that Sammie uses in the film.³

▶ The distribution rights to “Sinners” will revert back to Ryan Coogler in 25 years. Cosmically appropriate, given the themes of Black ownership his film explores.⁴ Asked about the deal at Democracy Now!, Coogler said this: “I’ve been in the industry long enough to know what kinds of deals are possible, and nothing about this deal is a new thing.”⁵

THE ONER.

One great line of dialogue from the film.