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Express Tribune
21 hours ago
- Entertainment
- Express Tribune
Sinners review: horror with a dash of soul
I remember it was a school night. Uneventful. Mundane. Ordinary. Until of course it wasn't. I walked into Sinners knowing absolutely nothing about it. No trailers, no cast announcements, not even a vague plot synopsis. 2025 hasn't been a milestone year for Hollywood so far and my expectations were reasonably demure. In a time where every movie seems dissected by teasers, leaks, and spoiler-filled thumbnails long before it hits the screen, perhaps I was happy to embrace the tiny prick of rebellion that it was to go in blind. I didn't know who directed it, who starred in it, or even what genre it belonged to. All I had was the title, 'Sinners'. So, with little else than the quiet curiosity that the title aroused, we dove in. Seldom does ignorance turn out to be such a gift. 'There are legends of people born with the gift of making music so true, it can pierce the veil between life and death, conjuring spirits from the past and the future." The two hour plus long cinematic experience that unfolded was so wildly unexpected, so unapologetically bold, that I was hooked from the first scene to its very last – post credits and all! Sinners is a story where the Mississippi Delta's revered soul meets fangs, fiddles, and the ghosts of the blues. And because I had no preconceived notions, every twist, every character, and every note of music (!?) hit with full force. They're not wrong when they say, that the best way to experience a story is to let it surprise you. There's a certain magic in the way Ryan Coogler makes a movie feel like both a personal memory and a cinematic epic. With Sinners, he takes that alchemy to bold new territory: a gonzo horror-thriller set in 1930s Mississippi, soaked in Delta blues, with a dash of Irish folk, and the bite of bloodthirsty vampires. On paper, I can imagine that it sounded like a madman's fever dream. On the screen however, it translated into a hypnotic, genre-bending, musical phantasmagoria that redefined what horror — and musical storytelling — can be. For those who might not be familiar, Coogler, known for Fruitvale Station, Creed, and Black Panther, ventures into the deep South for this ambitious tale, intertwining American racial history with folklore and the universal language of music. To put it plainly, Sinners is a vampire movie while also being a heartfelt tribute to blues music. To wax on, Sinners is a meditation on cultural survival, appropriation, and the seductive power of art across time and bloodlines. The Devil at the crossroads At the heart of Sinners are twin brothers Smoke and Stack (the Smokestack twins), both played with remarkable distinction by the luminous Michael B. Jordan. Returning to their rural Mississippi hometown, the brothers venture to open a juke joint, a refuge for Black folks exhausted by the relentless grind of cotton fields and the ever-present threat of Ku Klux Klan violence. Their sanctuary is meant to be a celebration of Black joy and resilience, pulsing with the rhythms of the blues. But once you open a door, you can't be certain of what evil might come barging through. Rather than hooded Klansmen, the true antagonists are a trio of vampires, led by Jack O'Connell's enigmatic Remmick, accompanied by Joan (Lola Kirke) and Bert (Peter Dreimanis). They arrive with fiddles, bodhráns, and the lilting allure of Irish folk music. Bearing them as gifts in honor of the brothers' new music joint. Gifts that might earn them a welcome. Their music is their weapon: hypnotic, foreign, yet eerily familiar. Coogler cleverly riffs on the legend of Robert Johnson, the bluesman who supposedly sold his soul to the devil at a crossroads. But here, the deal is reframed: the vampire Remmick offers freedom from the brutalities of mortal life — eternal youth, power, escape from racism and oppression. His pitch is seductive, precisely because he presents himself as an outsider to America's racial hierarchies, an ancient being who seemed to have witnessed Ireland's own colonisation and sees Mississippi's racial violence with a detached, almost anthropological eye. As defenders of their community Smoke and Stack are drawn into this supernatural conflict, in a marginally pronounced role, as artists grappling with the existential question: Who owns the blues? Is it the people who lived it? Or can it be co-opted, adulterated, transmuted, and commodified by those who neither understand its pain nor respect its roots? As the vampires' influence grows, the juke joint descends into a battleground of culture, memory, and identity (read lots and lots of blood). Blues, blood, and Bodhráns Ryan Coogler's deep reverence for music is evident in every frame. Teaming up once again with composer Ludwig Göransson, the duo crafts a soundscape that is more vital to the storytelling than any dialogue or action sequence. The diegetic music, songs performed on screen by the characters profoundly grounds the film in its historical context. The juke joint scenes are electric, featuring authentic blues performances that feel lived-in: familiar and raw. One standout moment is when newcomer Miles Caton, playing the young singer Sammie, delivers a haunting rendition of the original song 'I Lied to You.' Caton's voice, aged beyond his years, crackles with sorrow and defiance, while the camera dances through the club, blurring the boundaries of time and space. In an unforgettable set piece, the walls of the juke joint dissolve as Coogler blends 1930s plantation workers, ancient African drummers, modern DJs, and even twerking dancers into a transcendent musical tableau. It is a literal eruption of history through sound, culminating in the roof bursting into a plume of flames, a shot Coogler proudly confirms was done practically, not digitally. The scene in itself is a visual and sonic manifesto about the enduring, evolving soul of Black music, brought to life through the director's bravura. And then there's the Irish music. One could imagine the vampires' arrival being heralded with ominous strings, spine chilling and ethereal — but what we get instead are sprightly reels tinged with melancholic airs. Coogler's personal affection for Irish folk, shared by his family, informs this choice. The gimmick cashes in triumphantly; the use of Irish music deepens the film's themes. The fiddles and jigs, while at face value, contrast starkly with the heavier, bass hefty blues, snap right into place — an immaculate union; both echoing similar emotional truths — requiems of sorrow, of exile, and of resilience. Jack O'Connell's Remmick isn't your typical gothic villain either. His musicality is central to his allure. Trained intensively by Göransson, O'Connell plays a credible, if uncanny, folk musician. His companions, Joan and Bert, portrayed by real-life musicians Lola Kirke and Peter Dreimanis, add layers of authenticity to their combined performance. Together, their music becomes a siren song, luring the oppressed with promises of transcendence. Göransson's score threads these disparate musical traditions into a coherent sonic universe. He wields the 1932 Dobro resonator guitar like a time machine, layering it with slide guitar, harmonica, and, in moments of climax, Metallica-inspired power chords. Lars Ulrich himself contributes to the film's heaviest sequences, reminding us of the blues' evolutionary path into rock and metal. The musical interplay between the Delta blues and Irish folk is beyond being merely aesthetic; it is instead, thematic – enhancing both arts to a level transcendent. Both genres emerged from oppressed peoples finding solace and power in subdued reverie and song. Yet in Sinners, this mirrored heritage instead becomes a battleground of authenticity versus appropriation, lived experience versus immortal detachment. Horror, history, and the haunting of America While Sinners is packed with thrilling set pieces and gothic horror tropes, Coogler's ambitions stretch far beyond genre thrills. This is a film about America's original sins that scar its tapestry to this day: slavery, racism, exploitation. Remmick and his vampires are not stand-ins for the Klan or plantation owners. They are something far older, and more insidious: the eternal temptation of man to escape suffering at the cost of one's soul. Their 'offer' is alluring precisely because it feels like liberation from the grinding reality of Jim Crow-era Mississippi. But as the film unfolds, it becomes clear that true freedom cannot be bought or bitten into. Delroy Lindo delivers a memorable turn as Delta Slim, an old bluesman who recognizes the vampires' allure for what it ultimately is: a beautiful lie. His piano lessons with Göransson imbue his scenes with lived-in wisdom, his character serving as both a mentor and a cautionary figure. Coogler also weaves in a modern coda. The post-credits scene, featuring blues legend Buddy Guy, ties the film's century-old events to contemporary realities. Coogler's emotional meeting with Guy, himself a former sharecropper, adds a poignant resonance. This scene is a living testament to the blues' journey, survival, and relevance. A bold, beautiful, bloody ballad Sinners is by all means, a very audacious film. The first half of the film is diametrically opposite in tonality to the latter. It is these shifts, from historical drama to horror to musical fantasia, that might not be for everyone but its ambition, mastery in craft, and sheer passion are undeniable. Michael B. Jordan's dual performance anchors the film with emotional depth, while Jack O'Connell's Remmick is one of the most fascinating vampire portrayals in recent cinema: neither purely evil nor entirely sympathetic; just real, bloodcurdlingly real. The music, however, stands out as the film's true star. Göransson's work here is revelatory, a culmination of his collaborations with Coogler. The score while accompanying the visuals, elevates them, and in doing so, becomes part of the narrative fabric. Every pluck, slide, and beat, tells a story, conjuring ghosts of the past while forging new sonic pathways. Sinners commemorates music. Music is magic. Music is memory. Music is resistance. Whoever thought it could not have been done — Ryan Coogler has crafted a film that is as much about the power of art as it is about vampires. It is about how the oppressed find their voice, how that voice can be stolen, and how, through sheer and indelible force of soul, it can be reclaimed. In the end, Sinners is so much more than a horror movie. It is a blues song come to life. It is a lament and it is a battle cry. It is a haunting and it is a healing. It sings, and oh boy, does it sing. Shahzad Abdullah is a PR and communications strategist, cultural curator and director of communications at Media Matters All facts and information are the sole responsibility of the writer
Yahoo
3 days ago
- Entertainment
- Yahoo
Hollywood comes to the Mississippi Delta with special screenings of ‘Sinners'
CLARKSDALE, Miss. (WJTV) – Warner Bros. and director Ryan Coogler brought Hollywood to the Mississippi Delta. Special screenings of the hit film 'Sinners,' which is set in Clarksdale, will be held at the Clarksdale Civic Auditorium from May 29-31, 2025. Residents advocated for the film to be shown in Clarksdale due to the fact that the city does not have a movie theater. Philadelphia honors Quinta Brunson with key, mural at alma mater that inspired 'Abbott Elementary' 'The Delta is such a special place, and to see something so big and so major happen here, I wanted to be a part of history. I wanted to be a part of something amazing. I wanted to be a part of something that the world is taking a look at right here in Clarksdale, Mississippi,' said Katina Washington, who attended Thursday's screening. 'Sinners' is Coogler's first original film. It blends elements of supernatural horror, gangster drama, romance, blues music and action across one eventful day in Clarksdale, Mississippi, in 1932 in which a community opens a juke joint and then has to defend it from a vampire army growing outside. The setting of the film was also inspired by his family's ties to a Mississippi of the past. One was his maternal grandfather who originated from Merrill, Mississippi, and moved to Oakland, where the family remains. The other was the man who introduced him to blues music, his Uncle James, who died while Coogler was making 'Creed.' The Associated Press contributed to this report. Close Thanks for signing up! Watch for us in your inbox. Subscribe Now Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
3 days ago
- Business
- Yahoo
‘The Studio' acting Emmy submissions revealed — including guest stars Martin Scorsese, Sarah Polley, and Bryan Cranston
Apple TV+ has revealed its Emmy acting submissions for its breakout comedy series The Studio, including its lengthy list of guest actors. As expected, the show's only lead acting submission is star Seth Rogen, who plays the newly hired head of the fictional Continental Studios in the Hollywood satire. More from GoldDerby Michael B. Jordan expands 'Creed' universe with new Prime Video series 'Delphi' Here's your first look at 'Spider-Noir' starring Nicolas Cage 'Fallout' gets early Season 3 renewal ahead of Season 2 premiere in December The show's other main cast members will run in the supporting categories: Ike Barinholtz and Dewayne Perkins in Best Comedy Supporting Actor, and Kathryn Hahn, Keyla Monterroso Mejia, Catherine O'Hara, and Chase Sui Wonders in Best Comedy Supporting Actress. Cocreated by Rogen and Evan Goldberg, as well as Peter Huyck and Alex Gregory (Veep) and Frida Perez, The Studio's first season tracks Matt's ups and downs on the job, including having to tell Martin Scorsese (as himself) that his planned movie about Jonestown was being scrapped. Significant Hollywood filmmakers play themselves in the series, including Scorsese, Sarah Polley, Ron Howard, Nicholas Stoller, Zoë Kravitz, and Olivia Wilde. All those directors will be submitted on the Emmys ballot for guest consideration for The Studio alongside actors Anthony Mackie, Zac Efron, Dave Franco, and Greta Lee, who also play themselves. Other guest submissions for The Studio include real actors playing fictional characters: Bryan Cranston (who plays Griffin Mill, the CEO of Continental Studios), David Krumholtz (who plays a foul-mouthed agent), and Rebecca Hall (who plays a successful doctor who embarks on a failed relationship with Matt). The final guest-acting submission for Apple is journalist Matt Belloni. The Puck cofounder and The Town podcast host appears in multiple episodes of The Studio, both as a voice performer (through a fictional episode of his podcast) and live-action actor (on the casino floor during CinemaCon). These are just the names Apple is submitting on the Emmy ballot; anyone else, perhaps guest stars Parker Finn or Adam Scott, can submit on their own. Apple TV+ recently renewed The Studio for Season 2. The show's first season ends later this month. Best of GoldDerby 'The Better Sister' showrunner Regina Corrado: Jessica Biel and Elizabeth Banks 'are at the top of their game' Danielle Pinnock on playing Alberta in CBS' 'Ghosts,' representation, and what's next for the hit comedy 'I didn't think he was a jerk': Paul Giamatti on finding the humanity in his standout 'Black Mirror' episode Click here to read the full article.
Daily Mirror
3 days ago
- Entertainment
- Daily Mirror
Sinners to land on streaming services just 2 months after 'cinematic triumph'
You can soon watch one of the best films of the year in the comfort of your own home as the horror thriller Sinners is set to land on streaming platforms from June Sinners has been a huge success with critics and audiences alike, and fans will be grateful to know that the box office hit is about to land on streaming services after releasing in cinemas just last month. A collaboration between writer-director Ryan Coogler and Michael B Jordan, Sinners sees the Creed star playing both twin brothers Smoke and Stack in a thrilling new film. The story follows their journey back to their Mississippi home town to have a fresh start, however the plans take a terrifying turn when they have a run-in with a travelling band of vampires. Since its release in cinemas at the beginning of April, Sinners has dominated at the box office alongside Marvel's latest release Thunderbolts and the sixth instalment in the Final Destination franchise. But now as it finishes up its nearly two-month-long theatrical run, anyone who didn't have time for a trip to the cinema will be able to watch it from the comfort of their own home as it is reported to launch on streaming platforms such as Prime Video and Apple TV on Tuesday, June 3. READ MORE: Ben Stiller defends Sinners against critical headline after an impressive box office debut After its first launch, the film was an instant success with critics, skyrocketing to an incredible 99% on the critic's website Rotten Tomatoes. Having dropped just two points in the last few months, it also impressed audiences on the website who gave it a very impressive score of 96%. One Google reviewer who rated the film five stars heaped on the praise: "Ryan Coogler's Sinners is a cinematic triumph that blends gripping storytelling with raw emotion, and at the heart of it all is a powerhouse performance by Michael B. Jordan that will be remembered for years to come." While another particularly impressed with Jordan's performance added: "What a beauty! Michael B. Jordan delivers a career-high performance in his double role as twin brothers Smoke and Stack. Miles Caton as Sammie, the blues guitarist, steals every scene he's in with a soulful, electric presence. Everyone else is great in their roles too. The film pulls you into its universe, and you become completely immersed." Despite critics typically panning horror films, the film even scored an A rating on CinemaScore, becoming the first horror film in its 47-year history to achieve the score. Haillee Steinfeld plays Mary in the film, a "white-passing" character who helped her explore her own heritage. Speaking to Haillee said: "This movie in general, and this role specifically, pushed me to, I guess, include as part of my research digging into my family history... something I've done here and there throughout the years, but never like I did when I took on this role. "I love the research period for what we do, and the fact that this was something I got to walk away with, feeling closer to myself and closer to my family, was the most incredible thing."
Yahoo
4 days ago
- Entertainment
- Yahoo
Ryan Coogler bringing ‘Sinners' to Clarksdale for special screenings
CLARKSDALE, Miss. (WJTV) – The film that mixes blues, vampires and the Mississippi Delta into one will be shown in the city that it's set in. After a recent campaign to get screenings of 'Sinners' in Clarksdale, a celebration will be held in the Delta city this weekend. The city does not have its own movie theater, and the screenings will be held at the Clarksdale Civic Auditorium from May 29-31, 2025. Mississippi Choctaws featured in Ryan Coogler's 'Sinners' On Thursday, May 29, 'Sinners' director Ryan Coogler will introduce his blockbuster film and take part in a Q&A with special guests. 'Sinners' is Coogler's first original film. It blends elements of supernatural horror, gangster drama, romance, blues music and action across one eventful day in Clarksdale, Mississippi in, 1932 in which a community opens a juke joint and then has to defend it from a vampire army growing outside. Ryan Coogler and Michael B. Jordan on reteaming for 'Sinners' The setting of the film was also inspired by his family's ties to a Mississippi of the past. One was his maternal grandfather who originated from Merrill, Mississippi, and moved to Oakland, where the family remains. The other was the man who introduced him to blues music, his Uncle James, who died while Coogler was making 'Creed.' The Associated Press contributed to this report. Close Thanks for signing up! Watch for us in your inbox. Subscribe Now Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
