Ryan Coogler’s Sinners explores the racial heart of American vampirism

There are two types of dirty big budget films, and by 2025, Ryan Koger has made them both. There is a miracle type (seen in the coagler Black Panther And Black Panther: Vikanda forever), Where the vision of directing comes second after the studio machine, and the needs of the shared universe, VFX barriers, audience testing screening notes, and domestic style restrictions. And then there’s Sinner The type, where the process of the studio does not matter, as a result and through the artist’s signature, the result is sealed. Its vampire gangster Western-and occasionally musical! – What is the chaos due to its lack of ideas and effects, but also to exceed their limits. It is surprising that in view of the total number of tons in the display, it is together. What is practically a miracle, however, is that it is one of the fastest pregnancy works of popcorn entertainment.

In 1932 Clark Dale, founded in Mississippi, Sinner The same day revealed, as the notorious local brothers returned home from the job of the prohibited Chicago and El Capecoon. Elias, called smoke, has a hard head of operations, no nonsense brain, while Elias, alias stack, thin and more stubborn front.

The previous currency is hard, while the latter smiles with the teeth. They, together, lure former friends and colleagues to work for them during the great opening night of their Ramshak Joint Joint. They hope to make it happy for food, piety, blues music, and black people in separate south, but mostly, they just want to make money. His recruitment scenes take half the time of the film’s 137 -minute run -time, and in this process, we attract each other to the brothers’ dynamic.

With their little cousin Sammy (Mel Caton)-a preacher’s guitar son, who has been blown up with a voice, is so talented that he eliminates past and future emotions-twin children begin their project, even with unwanted white guests at their door. A little, familiar gender trumps begin to emerge, as strangers especially requested to be “invited”.

After a stable, character -based introduction, the cogueler produces further pace by cutting between moments of severe physical movement, then charges the headfire in the area of ​​the vampire movie. His script assumes that his audience is very familiar with the conventions of this genre, so he is never slow to explain them. But when the drama and the environment are absorbed, it is not difficult to come together for the ride.

The last three films of Kogle have been part of the big franchises – after Indeopic Fruit Wheel StationShe directed the seventh Rocky movie, CultAnd two black panthers. Here, although, he covers the complete original piece of pop horror, which is suitable for the Grind House cinema houses (and especially with a entertaining head of John Carpenter Topic) It is a spiritual spraying film, which contains intimate suspicion about greed and temptation that gives way to accelerate the blood of practical, orange brown blood, the way you find George Romero. Sinner There is a vampire movie, but it is practically formed like a zombie feature, in which a compact cast of characters is trying to survive at night because the ghosts have clearly made a deeper social malfunction towards them.

On the one hand, the vampires seriously represent the racial hatred of the 1930s (some of them are literally members), but on the other hand, the film cuts deeply with the metaphors of its monster and its supernatural journey. For a long time, the offerings of the eternal life of the villain (and much; there are some entertainment turns in these vampires) not only begin to read as a preferential alternative to the struggle of the black community for equality and survival, but also began to smoke the evils of the evils brought back from the Big City.

Indeed has only one of several mystical elements Sinner; Others include the spiritual ways of the Semi -colored cranking, and the former Annie of Smoke (Locker And Leukraft countryWinami Mossaku), all of them eventually come together, though in many ways.

For example, Cogeller has developed Sammy’s music into a physical form, which connects to a wonderful long period of species and effects that look like psychological visions and feel like magic. Even when Cotton looks a bit like a director when he speaks, Sammy reflects itself, deliberately or in another way. Sammy is a young creator who is trying to make art that talks to a great heritage, while also has to withstand the sins of his rich aid workers – his twin cousins ​​who test their fellow artists with vicious deals. It is not difficult to wonder if the Koggler is dealing with the same bridge and temptations, as a wanted studio filmmaker who gave birth to. Global talks on the heritage of museums.

Koggler can be free from a more binding form of filmmaking. Recently described Its miracle is as an “open directing assignment” – but even under the umbrella Warner Bruce umbrella, throwing yourself into this new original IP, is in danger of starting the cycle. (There’s not Sinner Sequel on the horizon yet, but who has to say?) The ability to connect Sammy’s people to his ancestors makes it a special purpose for the film’s villain. The purity of what he has created is fragile, and can easily be damaged. As this happens, the vampires sing their own folk songs, but use the appearance of sincerity as a comedy. It is stupid and cool at the same time.

Semi, The Twins, Annie, Alcohol Blues musician Delta Slim (Dealersway Lindo), Chinese American business owners Grace (Lee June Lee) and Bo Cho (Bo Chow (Lee June Lee) and Bo ChowYo), And the former stack flame Mary (Hailey Steinfield)-a white woman who draws closer to unpleasant newcomers. As this happens, many of these characters are in the panic of sorrow, whether it be more than the deaths of loved ones or the losers of their past contacts, which make them particularly sensitive to the evil forces. On paper, Sinner It seems that a straightforward creature is characterized, but its cheap thrilling studio is wrapped in packaging, thus in recent years only Jordan has appeared to be worthwhile.

From the aesthetic point of view, the film is incredibly self-esteem-most of which is obligatory to use the cinemographer Autumn Durald Arcapa and its celluloid. It has a deep shadow you have ever seen during the daylight, injecting each scene with a sense of mystery. But the way its skin and physical environments are popped up without overwhelming each other, which gives the film setting a different life. Clark Dale is a sharpen city, introduced through shots of its black workers working in cotton fields. These images give rise to the horrors of slavery, as well as the performance of Slim and Sammy’s foot -tapping blues endure the influence of African American spirituals. (Sammy’s background as a church singer.)

Everything that appears on the screen is wrapped up in the original sin of American history, and its subordinate and slavery. But these evils have a more basic desire in the heart, which cannot be saved even in its black character: money and wealth. The vampires also know this, and are testing their goals not only with eternal life, but also with gold.

The film is heavy in its explanations, though it is emotionally convinced. Most of it comes on Jordan’s Debonier Dual Performance. The twins of smoking are ruthless in the pursuit of wealth, but never invalid (they are sometimes ridiculous), ensuring that when the tragedy presents them, it creates sympathy and dramatic irony. One question always falls on the horrors of the film: Do Elias and Elijah deserve it?

Even Sinner Its rise to the height, none of the waste is lost. Its process is explosive, and when the vicious speed of the cocaller can sometimes be visible, but Adrenaline and the way it attracts every character to a clear spiritual question ensures that the film’s strength is far greater than its flaws. This is a very strange movie at times, just to its long mid -mid -credit Applog. But this is also an important swing for a large budget gender cinema, and of a deep personal nature, which has a wonderful prejudice about artistic heritage among cartonish Gores. The expected Gonzo Collection from the Sanitzed Studio Product is hardly. Instead, it seems as if a gender filmmaker is released from obstacles, because he tells a story about what freedom can mean in a system where every possible alternative is terrified.

Sinner On April 18 opens in cinemas.