Sinners

I finally got around to seeing Sinners yesterday, and sorry to disappoint anyone who expects me to be a contrarian but yeah, I thought it was bloody brilliant. Possibly my favourite film of the year so far.

Obviously, there is quite a few comparisons to From Dusk Till Dawn, as they’re both about criminal brothers trying to fight off a horde of vampires in a bar, they’re both set in the South and they both have a similar structures with two distinct halves that play out like two different movies spliced together… in the most awesome way, I might add. I wouldn’t be surprised if Ryan Coogler did use From Dusk Till Dawn as a source of inspiration for this film, but he clearly has loftier ideals than just paying homage to the B-movies of yesteryear. Sinners is more than just a fun vampire film, it’s also a commentary on colonialism and cultural appropriation and I’d also argue that it’s a movie about the importance of escapism and communal spirit during times of oppression and hatred (something that’s unfortunately all too relevant these days), but even if you don’t want to engage with it on a thematic level, it’s also a testament to the raw power of music, especially in one set piece that could only be described as both figuratively and literally transcendent. That’s all I’ll say without getting into spoiler territory.

Loved the performances as well. Michael B. Jordan and Hailee Steinfeld are top-notch, as are Wunmi Mosaku, Jayme Lawson, Delroy Lindo and especially Jack O’Connell in supporting rules, but the real find of the movie is easily newcomer Miles Caton in what could potentially be a star-making performance.

It also goes without saying, especially in a movie about the Delta Blues, but the soundtrack slaps. Easily one of my favourite soundtracks of recent years. Not just for Ludwig Göransson, but also the foot-tapping and eclectic mix of blues, soul, hip-hop and even a little bit of Irish music thrown in for good measure. Needless to say, you’ll probably never listen to “Wild Mountain Thyme” or “Rocky Road to Dublin” in quite the same way ever again.

Man, I loved this film and I’m glad to see it connecting with an audience. Mickey17 and Black Bag kind of tanked at the box office, which naturally reignited the argument that nobody wants to see original films anymore, but Sinners gives me enough reason to be hopeful for the future of cinema.