Ryan Coogler’s fabulous horror movie Sinners has one baffling flaw

Handsdown, Ryan Cogeller’s 1930s set crime film/historical thriller/vampire horror show Sinner So far is one of the best films of 2025. Black Panther And Fruit Wheel Station The director has created a project that is simultaneously brave and personal, such a big swing original story in which the scientific story always claims around the edges of the endless franchise films, ribotes, precivals, sequels and spin office, which dominates the production of American studios. It is about that in the last century, black citizens look like an American dream. It is close Coagler’s own family history And its relatives’ relationships with everything from bottleing to the initial black -owned business. This is an excellent watch. It is also a beautiful thrilling, Gori horror movie.

And nevertheless, Koggler’s most pleasant, extremely exciting, highly creative idea – is interesting enough to be a film plot. Distining, inventive sequenceAnd then the film is completely dropped. A wonderful question on more than half Sinner: What happened to the film’s biggest and best worry, and why does it not play much role in the story?

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A lot of Sinner Michael B Jordan’s shoulders on the shoulders because the twin siblings smoking and stack, alias “smoking twin.” They are a pair of thugs wearing faster clothes who left their Mississippi hometown for the Chicago’s big leagues, injured by working with El Capen (a story they don’t unfortunately tell, and just not identify it), then returned to the house with a stolen booze, with a stolen booze, with a stolen booze. A section of his setup includes bringing his cousin Sammy (R&B/Gospel Artist Mails Cateon), a preacher’s son and blues product, so that he can perform at his opening.

Sammy, we have been told in the voiceover, there is a rare tension for musicians who seem to have emerged during thousands of years and in every country and continent. These special abilities make music so powerful that it connects them to the emotions of the past and the future. And when Sammy finally plays in the club, which has an original number called “I have lied to you”, we have to see what it means through a wonderful emotional setting.

African tribal dancers, an Afrutorist solost, an electric guitar, a ballet dancer, a record scratching hip hop DJ, modern -day clubbers, Chinese opera actors and all appear through one by one and playing between the crowd, playing with Sami. And composer Ludwig Jornson Semi’s blues songs with a hip -hop beating, a domestic music line, African drumbits and transitions, and a range of modern equipment spread.

It is a sequence of wild frenzy, which is suitable for such wild ideas. Except that Sammy’s ability never comes to the rest of the film. This is not in accordance with the plot, and he never knows it or learns more about it. We get an amazing promise of this setting, and then.

Sammy’s power is hook in theory SinnerThe ‘Vampire Element: Irish Vampire (and singer, and guitarist, and seemingly music boyfriend) enters the story (Jack Okunal) because the performance of Sammy’s “I lied to you” called it. He is familiar with power like Sammy, and wants to claim Sammy and his abilities so that he can seek the souls of his relatives for a long time.

It rare, this powerful, and with the ability of cinema naturally, it appears that Sammy’s remarks and its bodies play some central role in playing as a brod, and its bird has added to the Jok Joint of the Smoxist Brothers. After understanding about the film’s vampire, as a malicious spirits in the dead human bodies, especially gender fans can estimate the end where Sammy asked to fight the feelings of the victims of Remic, and fought a supernatural power with a supernatural power. Or it will be easier to imagine the sequence where Sammy does exactly what he demands for remarks and asks for his dead relatives – who is called Remic back to the tomb from where he belongs.

There are many ways to tie music together throughout history that can fall into the line of the story given to us: as a way of engaging and demolishing Remake and its followers, unless the sun rises, or it forces it to understand what it is happening. Even at the beginning of the film, we have been told that such a united musical power spirits help solve the spirits, which seems to be clear about the need to understand the space and purpose of Sammy’s own music, and how to use it to easily put the disturbing world.

Instead, the risk of remarks is much more serious, accidental and clearly less interesting. There is something resonance with the rest of the Coaller’s themes of Cleimicatic Fighter SinnerGiven how it touches the semi -choice music device, where it has come from, and what it means. It is true that his guitar is a natural symbol because of his salvation, and in the process of destroying it, and then refusing to leave him, regardless of how his preacher father prays on him and requests him to leave.

But the guitar is Inadvertently Save it takes a lot of power from the hands of Sammy, and many conspiracies draw from its original abilities. A story that is known about the clear personal and financial strength of the twins of smoking. Sammy’s interesting power lack of resolution or even meaning Sinner Feel incomplete and even engaging by all other topics, ideas, and all plots that compete for attention.

Sinner Even in 1992, a long mid -credit applied, which looks like a clear opportunity to bring the film back to the place, which began with the Sammy’s musical continuity. And even this epilleg is wasted the opportunity to make its power meaningful.

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In the mid -credits sequence, a very old Sammy (now played by the Blues legend Buddy Guy) is playing in a club, which is clearly nearing the end of a successful and famous career. After the show, he sat in the bar as a steak and his girlfriend, Mary (Hailey Stein Field), walking to meet her, just as he did in 1932, besides his 90s dress. Stack treats Sammy like an old friend, and offers it to vampires to maintain his endless life. When Sammy rejects this option, Stack asked Sammy to play some good old sound delta blues for him.

We have seen the vampire at this location Sinner The order is like this – how cruel they are, how easily they lie, how easily they are killed, they can be physically compared to fragile humans. There is no reason to believe that the vampire stack and Mary are different, except the fact that they do not accidentally kill other humans. (Perhaps they have received a bouncer, though – it has remained unclear.) For a moment, it seems that Sammy is clearly old and sensible and has increased itself and his abilities, either can be brought back to this old power, either to eliminate the risk of the world, or to eliminate the world.

It seems like this is like a clear coda, especially given what Rimk clearly wanted and could not be achieved: by the power of Sammy to see his old friends and loved ones once again. And the setup seems to be beautiful and heartfelt for a continuation as a clear excuse as a shot scene in the mid -movie, except that Sammy consciously called his old friends and loved ones only for other people who probably remember them.

But no, Sammy sings right now A verse of a blues song about a woman that doesn’t care about herMagic is nothing, and sticks and Mary go along. This is a bitter end, which means that the good of life. Whatever the following life is to explain the importance of moving forward. And it comes with some powerful society about seeing each other for the last time between Sammy and Stack, and because despite everything that happens on that day, it was the best day of their lives. It is not bad at all, and it comes with a deliberate intention.

But it still raises the question as to why Koggler came to such a beautiful, memorable idea and why he expressed it in such a wonderful way, just to give up half a way through the film. Semi’s power is not the only idea Sinner He lifts and has no time to discover: the film is full of characters and events, in which both relationships and history and history and conflict go personal and institutional. There is a lot going on in this movie, as the Koggler is trying to make sure he did not lose the possibility of finding a setting and situation, and to tap many aspects of his family history.

But it still feels like a strange mistake: a kind of Chekhov’s gun It once fired in the air, once in the air, then never touched. Here’s hope Sinner So nice that Koggler can return to the most interesting idea of ​​the film if he ever wants to find it in depth. The concept of such an infinite capacity should not go to a limited scene, no matter how beautiful the scene is.

Sinner Now in the theater.