Review: “Sinners” is Hollywood filmmaking at its finest

By Jay Collura     4/22/25 11:10pm

Score: ★★★★½

Oftentimes, film critics (myself very much included) exaggerate the death of cinema as we groan about the dominance of intellectual property, when in actuality, many good, unique films constantly surround us. 2025 has been an excellent reminder of this; for every “Captain America,” there’s a “Black Bag.”

Enter “Sinners,” the latest collaboration between Ryan Coogler and Michael B. Jordan, a film that properly bridges the gap between the rambunctious blockbuster Hollywood has been addicted to and the originality film fans crave. It is invigorating to see a film so confident in its ability to stun, uncompromising in its construction and evocative of the elementary tentpole pictures like “Jaws.” 

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That final comparison has rattled around in my head because, like Spielberg’s 1975 classic, “Sinners” functions primarily as an intense horror picture. The film, set in 1932, follows the Smokestack twins (both played by Michael B. Jordan), a duo who have returned to their Mississippi hometown to start a juke joint.

For the film's first half, the audience learns about the twins’ past and the people they left behind through incredibly well-written, natural dialogue. The characterization of Smoke and Stack is notably nuanced, as they come alive through two excellently distinct performances by Jordan and a strong script from Coogler. 

Around the halfway point, however, the twins, alongside the family of musicians, partners and patrons at the joint’s grand opening, are forced to confront an evil force hellbent on destroying what the two have created. I won’t spoil what exactly the villains are in this review, but the marketing does. However, even if you know what lies in the shadows, the movie’s ability to misdirect is so powerful that you’ll likely forget until it’s too late.

The robustness in both set-up and characterization makes the movie feel essential in a way that most recent blockbusters are not. This is not an offshoot or rehash but rather a capital-M Movie that feels exceptionally fresh, intensely personal and delightfully twisted. Coogler infuses genre classics like “The Thing” and “From Dusk till Dawn” with his outlook on music, culture and community.

Each film I have named in comparison to “Sinners” are not aspirations for Coogler but his newfound contemporaries. His use of one-takes, jump scares and foreshadowing creates suspense that entranced me for nearly the entire runtime. 

There’s a deep-seated unease present in almost every frame that made me genuinely sweat. Accompanied by stunning visual effects and grisly violence, it’s a film unlike anything I’ve seen this decade in the way it blends traditional Hollywood sensibilities with true ingenuity.

Every detail and choice is aligned with the film's greater statement about community. By setting the film in the 1930s, “Sinners” feels like a part of a historical throughline Coogler is attempting to capture about the unyielding siege against Black communities in America throughout history. It’s a strong allegory further developed through the rich Gothic mythology that the film draws upon, as well as clever incorporations of period-accurate detail and intentional anachronisms.

For example, music, specifically the blues, plays a significant role in the multifaceted statement the film is making. The film's third lead, Sammie (played wonderfully by first-time actor Miles Caton), is recruited by the Smokestack brothers to play guitar at the juke. His performances actively reflect his community, yet ultimately draw in the enemy. 

This single narrative choice simultaneously comments on Coogler’s feelings about his creative output, the appropriation of blues music by white artists and the ability for genre (whether that be horror, metatextually, or the blues) to create an emotional reality reflective of the real world.

The confidence to do something so nuanced yet so straightforwardly engaging makes “Sinners” so refreshing — its strong horror foundation keeps you locked in, and its thematic depth keeps you thinking about it. Not every element feels explored to its fullest potential, but that’s not the point: Coogler is using his prowess as one of the premier Hollywood filmmakers to thrill us while showing us a part of himself. This sense of purpose and perfection of craft is why I go to and write about movies, and exactly why “Sinners” rocks.

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