Another Look at Sinners: Taking Things to the Neck Level

As the 2025-26 Awards Season commences, non-officially starting with the 16th Governors Awards this last month and gaining steam with the recent release of Golden Globe Nominations, I thought looking back on all the noteworthy movies that have been released so far this past year would be worthwhile and a nice refresher before the star-studded competition truly kicks into high gear. 

Whether these films flew under the radar and are severely underrated, or have become massive pop culture phenomena and popcorn crowd pleasers, I am planning to offer up a little short review reminding audience members why these cinematic narratives move us.

Basically, I hope to provide a convincing reason as to why these significant stories are increasingly important in an overwhelming media landscape heavily fixed on mind-numbing content and disposable social media posts. 

A Supernaturally Good Time

And what better way to begin this whole project than with what I believe should be the highly sought-after Best Picture winner, being the already iconic and immense achievement that is Sinners, directed by the talented Ryan Coogler.

Making an uproarious horror flick filled with ghoulish vampires and enough blood to tide over gore fans, while also including meaningful representations of often underserved Southern Black culture and beautiful implementations of blues music, from its opening weekend, the fact that this period picture was something special and would one day become a fondly remembered classic was obvious. 

Centering around twin brothers Smoke and Stack, who have returned to their Mississippi hometown from criminal dealings in Chicago after swindling a bunch of money from their former associates, the two plan to open up their own juke joint for their local community. 

Taking place in the 1930s, upon reconnecting with family members and former lovers, the assorted crew celebrate in full swing, only to be violently interrupted by supernatural and culture vulture invaders with ill intent. 

The To Die For Performances

The dual performance provided by the always good Michal B. Jordan perhaps showcases his understated emotional vulnerability and true movie star nature in the most definite way possible so far in his entire career, realizing his limits and carrying himself with such effortless charisma as a result. 

Moreover, newcomer Miles Canton should absolutely be under more award consideration. With his constantly evolving and well-rounded portrayal of Sammie, the impressionable and eager nephew of the twins who undergoes still lingering trauma, this central part is an impressive first role and promises a bright future.

Being emblematic of how suffering and the pervasive effects of racial discrimination are passed down among generations, the overall plot would not work without his dynamic impact and would be completely lesser without it.

In addition, I am so glad to see the recurring recognition for Wunmi Mosaku among local critics’ circles, who plays Annie and serves as the necessary heart of the overarching narrative.

Every single scene she is in simply takes my breath away with her graceful beauty and soothing voice. Her touching personality reminds people of the overlooked importance of sticking to yourself and your beliefs in the direct face of oppression.

Her practice of traditional hoodoo is also something infrequently seen in big blockbuster films and even more rarely depicted with such evident care, not being a stereotypical cliche or offensively mocked. Instead, her clever thinking helps the main cast survive and fight off their attackers, with her grasp of the unknown being treated seriously and with sincere consideration.

The main villain of Remmick, performed by Jack O’Connell, will surely remain one of the most outstanding antagonists we have had in the last decade, with his diabolically delicious screen presence and lovably detestable demeanor.

Being intentionally reminiscent of white individuals seeking to predatorily align themselves with Black customs without any of the knowledge of the distressing history of why forcibly entering this space is exploitative and harmful, using bloodsucking vampires as a metaphor for assimilation and colonization is beyond ingenious. 

Unfortunately, the only actor I have a real problem with is that of Hailee Steinfeld, whose displayed energy and unconvincing foothold seem not to be on the same level as everyone else, who are bringing their absolute all and offering such enmating passion. Rather, she comes across as checked out and not as emotionally invested with her run-of-the-mill delivery. 

The Technical Side of Things

In regard to technical aspects, the costume and set design here are fitting and feel immersive, transporting viewers to a Southern Gothic environment where several cultures are interacting and meshing one another, also including Choctaw and Chinese influences.

The usually tight-knit cinematography, opening up when exhibiting the surrounding cotton fields or providing energetic overhead shots of dancing, flows with intention and purpose. 

The score composed by Ludwig Göransson is unforgettable and will firmly go down as an all-timer, being perfectly haunting and enveloping in its intoxicating aura that is akin to soft velvet or rich bourbon. The tangy songs “Smokestack Twins” and “Free For A Day” particularly stand out.

However, the interspersed musical numbers truly steal the show and have remained a consistent topic of discussion for months on end. In fact, I think these riveting scenes will be retrospectively deemed the most exemplary part, with the one centering around the quintessential track “I Lied to You” being straight-up movie magic and feels momentous even now. 

In truth, the sole grievance I have is that the beginning introduction drags on for a bit too long and could have had more momentum, taking a hot second to fully get into the nonstop twists and engaging action.

After this slight hump, audience members will be enraptured from this point onward and be sucked into this poignant tale about life during Jim Crow laws, with mythical undead creatures and fantastical tunes thrown into the mix. 

In short, if you have not already, please do yourself a favor and watch Sinners. You will not regret doing so. Being one of the most thoughtful and detailed films within the last few years, everyone can find some aspect to appreciate and enjoy, from diehard horror fans to music aficionados.

In an entertainment climate where brainless franchises and disposable sequels fester, this heartfelt piece proves that sometimes things that are popular are for a great reason and that original ideas are not dead at the box office.

On Wednesday, Feb. 12, at 6 pm, the UWM Union Cinema will be screening the film free for everyone.

Sinners is also available to rent and can be streamed on HBO Max.

Grade: A