Original caricature by Jeff York of the main cast of SINNERS (copyright 2025).
This may very well be the shortest review I’ve ever written for a film that I think is going to be one of the most talked about and honored films of 2025. I don’t want to say too much, and I fear that you may have already seen the trailers or TV commercials for it, but it’s such a special cinematic achievement the less said about it, the better. All the more for you to discover on your own without too much being given away, even by those lauding it such as me. Suffice it to say, go and see it without hesitation or investigation, and let the film wash over you in its entirety. You’ll be amazed.
The plot seems fairly straightforward, taking place in 1932, as two prodigal sons return to the small town of Clarksdale, Mississippi. Twins Smoke and Stack (both played by Michael B. Jordan with the aid of some CGI trickery) to buy an empty barn and turn it into a juke joint. The two fancy-dressed lads have made a killing in Chicago working for Al Capone and their threads, swaggers, and wads of cash they are ready to toss about speak to their success up north as veritable gangsters. They’re sinners for sure, but they want to give back to their hometown and offer up a place where those working the cotton fields can journey to at night for libation, and entertainment, and call it their own.
Ironically, the twins buy the barn from a good ol’ boy (David Maldonado) dripping with KKK snideness, and they don’t hesitate to threaten him if he’s thinking of fleecing them on the deal. After money is exchanged, the duo starts rounding up those they’ll need to quickly turn the place into a hot spot for that very evening, and in a short time, they gather up old friends to help them get everything together. They include local musician Delta Slim (Delroy Lindo), store owners Bo and Grace Chow (Yao and Li Jun Li), the muscular Cornbread (Omar Benson Miller) to keep the order at the door, and prodigy guitarist Sammie Moore (Miles Caton) to play with Slim. Sammie plays the guitar like he’s been blessed by angels, and indeed, it seems he is. It doesn’t hurt that he’s the son of the local preacher as well. Smoke also reconnects with his old flame Annie (Wunmi Mosaku), who’s not only a good cook, but something of a local voodoo spiritualist, all the better to bless the new investment for the twins.
The place is readied and, wouldn’t you know it, danger comes-a-callin.’ Smoke’s married ex Mary (Hailee Steinfeld) shows up, bitter and yet still longing for him. A flirtatious local woman named Pearline (Jayme Lawson) appears and Sammie is smitten. Plus, some white folks show up, led by local Remmick (Jack O’Connell), wanting to join in the fun, but Smoke and Stack eschew their offer to help raise the roof with their music.
I could tell you more but suffice it to say, the film gets much more complicated, sensual, hallucinatory, dangerous, and yes, quite violent. There are spirits in the spirituals that Sammie plays and there is a set-piece in the middle of the film where images of the past and future join in the jam and it’s the most audacious scene in a film so far this year. I was always floored by how terrific the ensemble is, especially Jordan’s subtle double-duty, establishing two slyly different characters often occupying the same space on screen. Steinfeld plays against type here, vamping it up as a bad girl, and she’s so good, she’s scary. Everything is superb, from the production design to the cinematography to the costumes. Special mention of composer Ludwig Goransson for his spectacular score. I predict he will win his third Oscar for it, having previously won for BLACK PANTHER and OPPENHEIMER.
Ultimately, as phenomenal as all the elements, one must applaud writer/director Ryan Coogler. He’s created a film that is filled with richly developed characters, sweaty, tense drama, and stunning, religious symbolism. Belief systems, be they spiritual, political, or sexual, come into play, as do issues of power, money, and standing. It all makes for a film that covers racism, sexism, ancestry, tradition, and artistry. Sometimes Coogler bites off more than he can chew, and a few great ideas are brought up and not touched as fully as they should be, but this is a major work. It’s both an arthouse and a tentpole-ish ‘movie movie.” And the surprises will leave you gobsmacked.
Oh, and stay for the credits as the story continues. Not only is there a delightful surprise cameo, but the ending could very well set up a series of potential sequels. Even if it doesn’t, SINNERS as is…is a stunner.
