Sinners Review: Michael B. Jordan Vampire Movie Delivers Great Action
Ryan Coogler is one of the greatest talents working in the film industry, and he proves it once again with Sinners. This vampire horror-action hybrid is his first truly original film, and I’m hoping he gets many more opportunities to shine. All of his other movies are excellent, but Fruitvale Station is based on a true story, Creed is a Rocky reboot, and his Black Panther movies were his entries into a long-standing Marvel Cinematic Universe. Here, we have original characters, an original story, and, just like all his other movies, Michael B. Jordan. They are to each other what De Niro is to Scorsese, and they’ve created one hellish good time.
I love the idea that Coogler loves working with Jordan so much that he needed to work with two of him this time. The film follows twin brothers, Smoke and Stack, both played by Jordan in the best performance of his career, as they return to their hometown after years away. With Sinners, Coogler steps into horror for the first time and emerges with a stylish, blood-soaked Southern Gothic that doesn’t just announce a new chapter in his career; it practically demands it. Set deep in the American South and drenched in moonlit dread, this vampire tale is part genre exercise and part audiovisual fever dream. It doesn’t always work, especially in its sluggish first act, but once night falls, and the true horror awakens, Coogler delivers a second half that’s as haunting as it is exhilarating.
Coogler opens the film with a meditative, naturalistic tone that recalls his breakout debut, Fruitvale Station. He lingers on the brothers’ relationships with friends, old flames, and businessmen as he establishes the dusty, lived-in world around them. It’s a noble attempt to ground the film in emotional authenticity, but it never quite clicks. The stakes feel too diffuse, and the tension too subdued. That sense of intimate realism from Fruitvale Station feels out of place here, slowing down a story meant to be creeping toward dread. By the end, the importance of this first act becomes more apparent, but the execution could have been better.
Then night falls.
The moment the second act begins, Sinners transforms. It’s as if Coogler has been quietly winding up a jack-in-the-box, and the lid finally bursts open. The film hits its stride with a mesmerizing dance sequence that took my breath away. The camera movement is incredible, pulling us through this setting and showcasing the evolution of dance across cultures and time. This, combined with the phenomenal music, creates perhaps the best-directed scene of the year. It’s genuinely jaw-dropping. There are several moments in this movie that justify why you should see this film in IMAX, and this is one of them.
Autumn Durald Arkapaw’s cinematography shifts into high gear here. Her lens captures every movement with dreamlike precision, using shadow and silhouette to craft images that stick with you. She nails everything, from the visually arresting dance and action to the smaller details. Part of why that first act feels like a bit of a drag is that it takes a little too long for this to become a vampire movie. But once it does, it doesn’t hold back. The vampires’ eyes glow, and there’s an excellent detail in a few moments where when the vampires are hiding their true identity, their faces are lit in a way where their eyes are in darkness. Simple but effective ideas like this go a long way.
The early missteps are easy to forgive once the film locks into its rhythm. He balances horror with emotion, spectacle with intimacy, and uses genre as a way to explore deeper questions about guilt, identity, and the legacy of violence. There’s a rich metaphor at play here—vampirism as a cycle of generational trauma and addiction—but Coogler never leans too heavily on it. He lets the visuals and performances do the heavy lifting, trusting the audience to feel the subtext rather than be told.
There’s also a fascinating approach here to the vampire genre. We’ve recently gotten Nosferatu, Abigail, and The Last Voyage of the Demeter, but once the movie fully embraces itself, there’s an element that feels like a zombie movie. But the vampires aren’t mindless monsters; they’re the same people, but their minds have been twisted. Their behavior is cunning and wicked. The film also plays into the classic vampire lore surrounding garlic, wooden stakes, and the idea that they cannot come in unless invited. All of this allows Sinners to stand out and feel fresh. Coogler’s keen eye for social commentary and ability to craft a must-see theatrical experience allows Sinners to be far better than your average horror fare. With excellent performances from Michael B. Jordan and Hailee Steinfeld, this will surely go down as one of the best horror movies of the year.
SCORE: 8/10
As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.
Disclosure: ComingSoon attended a press screening for our Sinners review.
Source: Comingsoon.net