Sinners Review — When Vampires Crave Blues More Than Blood

In recent days, Ryan Coogler’s horror film Sinners has been breaking records. It holds a 93% rating on Rotten Tomatoes, 4.3 out of 5 on Letterboxd, a rare A on CinemaScore for a horror movie, and earned $45.6 million at the domestic box office over its opening weekend — dethroning A Minecraft Movie. Some are calling Sinners the most successful original film of the decade. But is the praise justified? Let’s find out.

Set in 1930s Mississippi, Sinners centers around a tight-knit African-American community. The story follows twin brothers with a criminal past — Smoke and Stack — who return from Chicago with a lot of money and open a juke joint, something between a bar and a casino. Both gangsters are played by Michael Bakari Jordan.

To make a splash on opening night, Smoke and Stack need a solid blues band. One of their picks is their cousin Sammy — the young son of a preacher who disapproves of performing for “sinners.” He warns Sammy that music, especially something as soulful as blues, can attract the devil. And he’s not wrong: a mysterious white man named Remmick soon arrives in town.

Sinners has a lot in common with From Dusk till Dawn, including a similar structure. The first half is all about setup, character intros, and establishing mood. The second half shifts into horror-action mode, as the protagonists fend off a horde of bloodthirsty vampires in a confined space.

The difference is that while From Dusk till Dawn makes a jarring tonal shift into horror, Sinners transitions more smoothly. The quieter first half tackles complex social and cultural issues African Americans faced at the time. What’s notable is that the film doesn’t abandon these themes once the horror kicks in — making the work feel cohesive and thought-through.

Still, comparisons with From Dusk till Dawn can be misleading. Yes, Sinners has its share of bloody action, but monster-hunting isn’t the main draw. The vampire fights lack the intensity of the scenes that lead up to them.

Why is that? On one hand, you could fault Coogler for not reinventing vampire lore. While one of the protagonists — a woman versed in ancient African mysticism — is part of the team, her vampire-slaying methods boil down to the usual: wooden stakes, garlic, holy water. We’ve seen it all before.

On the other hand, maybe the action in Sinners doesn’t linger in the memory not because it’s unoriginal, but because everything else in the film is so strong. The dialogue is sharp, and the performances incredibly compelling. Jordan shines in a dual role, but the entire cast is excellent. Miles Caton, who plays Sammy, delivers a standout debut. And Jack O’Connell’s portrayal of the vampire leader is so captivating, you can bet he’ll start showing up on “best villain” lists.

Moreover, the action takes a backseat because the film constantly invites viewers to decipher its layers of meaning. Catching all of them likely requires more than one viewing. Then again, not all of the ideas are subtly delivered — some are a bit too on-the-nose. It’s not the themes themselves that are the problem, but how directly they’re communicated, denying viewers the satisfaction of drawing their own conclusions.

For example, the importance of intangible cultural heritage is heavily emphasized. The film repeatedly reminds us that music binds communities and can be a weapon against assimilation. That’s why the antagonist is drawn to it more than to blood. It’s a powerful concept — just not a very subtle one.

Still, while Sinners may sacrifice nuance to ensure its messages come across, it handles several difficult topics with care. Take the casting: there are no white leads, and the main villain is a white vampire. At first glance, this might seem like reverse racism. But when Remmick’s backstory is revealed, things become more complex. He has far more in common with the protagonists than it first appears — a testament to the script’s depth.

***

Calling Sinners “the best original movie of the decade” might be premature. But after watching, it’s easy to see why people are so excited. This is a film that sticks with you — one you’ll want to think about and discuss. That alone makes it stand out in the horror genre. Part of its success is due to Ryan Coogler’s unprecedented deal with Warner Bros., which gave him full creative control. If more visionary directors follow suit, this could mark a turning point for Hollywood — where producers are already uneasy about creators gaining more power.