Sinners movie review (2025) – one of the decade’s best

Sinners is one of the most creative, captivating and excellent films of the last 25 years.

All the hype you’re hearing? It’s real, legit and maybe even a little understated. Sinners is the kind of epic filmmaking that doesn’t come around every year or even decade.

Director/writer Ryan Coogler has already made one of the more thought-provoking dramas this century (Fruitvale Station), one of the best sports dramas (Creed) and an all-time best superhero film with Black Panther.

Now Coogler sets his sights on the horror genre with his usual multi-layered approach. That’s not to suggest Sinners is so easily classified as a basic horror movie gore fest. Yes, the protagonists have to tangle with vampires, but it does Sinners a disservice to just slot it in one genre. Coogler undoubtedly could make a run of the mill blood-soaked horror thriller with ease. He prefers a challenge and makes Sinners an infusion of horror, musical and period piece.

In each of his films, Coogler has set his own bar of excellence just a little higher. With Sinners, Coogler uses a ladder to get to an even higher plane. It’s going to be hard for Coogler to top this one as it feels like the perfect synergy of his experiences and creativity coming together for what could be his career-defining work.

Set in the early 1930s, the film has an attention-grabbing opening act. A blood-soaked Sammi (a terrific Miles Caton) returns to his father’s (Saul Williams) church in the middle of service to the astonishment of the parishioners. As his father embraces him, Sammi begins to recall the events that occurred just a day ago.

His twin cousins, Smoke and Stack (Michael B. Jordan) are back home in Clarksdale, Mississippi following their service in World War I and a stint in Chicago working with Al Capone. The SmokeStack twins have a certain notoriety to them, and they work hard to maintain that reputation. They haven’t returned to cause any trouble. Instead, they’ve got loftier goals of opening up a juke joint.

Jordan, who is the Leonardo DiCaprio to Coogler’s Martin Scorsese, hasn’t been better. This is their fifth collaboration together and if Jordan didn’t nail down a Best Actor nominee with this performance, the whole criteria is off. His take on the twins is subtle — one that will be further appreciated upon multiple viewings — but as the film progresses, the differences in the twin’s personalities becomes apparent.

MORE:

• Den of Thieves Pantera review (2025)
• WWE Ultimate Edition Cody Rhodes review – WrestleMania 39
• Daredevil Born Again: Isle of Joy review S1 E8
• Picture This review (2025)

Sammi can play the guitar his cousins gave him before going up North and are surprised to hear his melodic voice as well. To make the right impression on opening night, the twins also recruit pianist/harmonicist Delta Slim (Delroy Lindo). Lindo is a performer who’s never bad in anything even if he appears in a shaky film. He’s excellent as the done it all, seen too much musician content to play for his next bottle.

To keep out any unsavory types, Stacks brings in their good-natured, towering pal Cornbread (Omar Miller). Smoke gets store owners Bo (Yao) and Grace (Li Jun Li) to contribute food and signage while making a special trip to the off-road medicine woman, Annie (Wunmi Mosaku, Loki). Annie and Smoke’s relationship is complicated, but Stack’s situation-ship with Mary (Hailee Steinfeld, Hawkeye) is even more tangled.

Mary’s full heritage is not something that would be smiled upon by the local Klan members, which is why it’s been a closely guarded secret. And the main reason Stack cut things off. Mary won’t be cast aside this time and wants real answers from Stack. Coogler makes a point that as swagger-full and confident the SmokeStack twins otherwise are, the bravado fades in the face of the women they love.

Sammi might be on his way to finding love as well with singer Pearline (Jayme Lawson). To work out all this pent-up tension, Coogler also works in some steamy, sensual scenes.

The trailers sell Sinners as more of an action-packed vampire horror thriller. While that is indeed a part of it, Sinners has many more layers particularly the music. The score from Coogler’s other longtime collaborator Ludwig Göransson, is every bit as vital to the film as almost any character. It drives the story along and in some cases is a key plot point.

In one of the film’s most imaginative sequences the music is a focal point through generations. It’s the kind of scene that comes together so spectacularly that it’s a testament to the combined brilliance of Coogler, Göransson, costumer Ruth E. Carter and cinematographer Autumn Durald Arkapaw. This moment is teased in the trailer, but watching it unfold within the context of the film makes for a special viewing experience that doesn’t come around nearly often enough.

Arkapaw constantly crafts breathtaking visuals whether an ominous shot of crows descending on a house as the sun gets closer to setting, the mesmerizing arrangement of the string lights in the juke joint or the welcome tinge of sunlight. Sinners looks amazing.

Trouble does eventually arrive in the form of Jack O’Connell’s Remmick. With glowing red eyes that Arkapaw gives an even creepier tone with a slight trail when he moves, Remmick intends to crash the party.

There’s a clear metaphor at play especially when Remmick with his two recent converts attempt to get invited in with their song of choice that certainly doesn’t seem to vibe with the jazz/rock n roll playing in the juke joint.

Eventually, Remmick finds a loophole and the carnage begins.  A test of a horror film is how invested viewers are with the characters before they start getting killed off. The vampires’ arrival means the party is coming to a close, but it almost feels too soon since the ensemble was still having so much fun.

Coogler doesn’t disappoint once the action starts heating up. The fight choreography is clean and easy to understand what’s playing out across the screen instead of some hyper editing cut-up mess. There are two big action sequences and at my screening, both drew massive applause from the audience.

Don’t rush out of the theater too early. Coogler added some post-credit goodness as well. The first could have easily messed up the film’s perfectly fitting conclusion. Instead, it further enriches the story in a way that doesn’t feel cheap or unnecessary. It’s the best possible bonus ending.

My biggest complaint about Sinners? That I could only experience it for the first time just once. This is a very special film and regardless of its arrival in theaters, Sinners must be considered a major contender for multiple Oscar nominations once award nomination season gets underway in November and December.

The real unpardonable offense would be letting this film be forgotten when it comes time to acknowledge and celebrate this kind of landmark filmmaking.

Rating: 10 out of 10

Photo Credit: Warner Bros Pictures.

Check out Coogler’s work in Black Panther: Wakanda Forever on 4K now at Amazon.

As an Amazon Associate, I earn from qualifying purchases.