“Sinners” is a bit more than a vampire film.
Delving into the history of music, director Ryan Coogler gives blues music an origins story and lets it play out in the 1930s.
Two brothers (both played by Michael B. Jordan) return to Mississippi during the 1930s to spread some of the money they've earned working for gangsters in Chicago. Their goal is to set up a juke joint and fill it with great music, fantastic food and lots of friends.
Quickly, we see the pieces fall into place – and the relationships that preceded the return. Hailee Steinfeld turns up as a brother’s lover; Wunmi Mosaku takes care of the other. The proceedings suggest a reunion is possible but then we start seeing outsiders close in on the world they're creating.
Michael B. Jordan stars as a entrepreneur hoping to build a juke joint in "Sinners."
The son of a preacher (yes, you can hear the lyrics now) shows great musical thrills and is pulled in as one of the joint's performers. He's given a mentor (nicely played by Delroy Lindo) and encouraged and taunted by multiple sources. When the music starts playing, Coogler begins the dot-connecting and shows how one sound can resonate in many ways. His ability to give us a contemporary hook is "Sinners'" most brilliant move.
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Still, there's the approach of outsiders and those vampires, trying to prey on the talent and life found within the joint.
When Coogler starts muddlin' his story, it's easy to lose focus, particularly when Mosaku is such a mesmerizing character and Miles Caton, as the young musician, is such a brilliant find. Coogler connects those dots as well (during a closing credits sequence) and makes you feel like you've watched something more important than you think.
Michael B. Jordan stars in "Sinners."
Whole swatches of the middle, however, need a return visit, particularly since you're not sure who or what certain characters represent.
Those threats and comforts are interesting. They just need more explanation.
"Sinners'" look is lush and inviting. Even that old wood structure has charm. When the crowds start coming and the music begins, you think Shug Avery is going to make an appearance. An Irish immigrant, however, casts a pall over the activity and begins his assault.
Those action scenes roar (particularly when two characters catch on fire) and make you wonder how anyone is going to get out alive. Thankfully, Coogler makes the connection, leans into Caton and offers a surprise in the closing credits.
