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| Warner Bros. Pictures |
Also published on ABS-CBN
I had no clue what Sinners was about going in, and honestly? That’s probably what made me love it even more. The last thing I expected from a period piece set in the 1930s Mississippi Delta was vampires. I thought I was settling in for a somber, historical drama, maybe something slow and mournful about the racial and economic horrors of the time. But then… bam! Bloodsuckers.
Directed by Ryan Coogler, Sinners stars Michael B. Jordan in dual roles as twin brothers who return to their hometown hoping for a clean slate — only to find themselves face-to-face with something ancient, hungry, and entirely uninterested in letting them move on.
The first act is slow, and I mean that in the best way. It’s gorgeously shot, painfully deliberate, the kind of pacing that whispers, “We’re building something here.” You sit with these characters, squinting through thick Southern accents (subtitles, please), and slowly realize: this isn’t just a period piece. This is a trap. A mood. A tone poem with fangs waiting in the wings. It’s also one of those rare slow-burns that’s even better on the second watch, once you know what you’re in for.
Then, just when you think you've got it all figured out, things go sideways in the best way possible. The supernatural element kicks in, and it feels earned. There’s no cheap jump scare or sudden hard left turn — just a gradual shift until you’re fully immersed in something much weirder than what you signed up for. The horror is baked into the history, and the reveal is as satisfying as it is disturbing.
The music, though — it is a character in itself. Ludwig Göransson’s score paired with traditional blues and folk performances creates this hazy, haunted vibe that elevates every frame. It’s like the soundtrack is possessed. When the film leans into the eerie and operatic, the music drags you under with it — and you go willingly.
One scene in particular is still living rent-free in my head: a musical dance sequence that collapses time itself — past, present, and future folding into one surreal moment. Vampires with glowing eyes dance in perfect circles, a blues singer belts out something guttural and holy, and then one of them starts hitting an Irish jig. It sounds unhinged — and it is — but it’s also pure cinema. It freaked me out in a good way.
Performance-wise, it’s hard not to be impressed. Michael B. Jordan nails both roles, giving each twin their own wounded pride. Miles Caton is a revelation — absolutely electric. And Delroy Lindo has a quiet monologue that might be one of the best scenes of the year.
It helps that the script gives a damn about its characters. Coogler takes his time, lets them breathe, gives them weight. It’s so refreshing to watch a horror film that doesn’t rush to the violence without first letting you care about who gets hurt.
There are flaws, sure. The antagonist could’ve used more backstory, and the pacing might test some audiences. But honestly? I didn’t care. This is a film that’s bold and inspired, and still somehow feels totally original. We keep asking for original movies. Well, here it is. And it’s the kind that reminds you what movies can still do.
After watching the film, I couldn’t help but feel that Sinners proves there’s still a lot of originality left in a genre that’s been overused and abused. The film’s politics, though, really stood out to me. The vampires, almost tribal in nature, seem to represent a seductive pull toward shedding the burdens of modern humanity — much like the conservative ideals that tried to drag us back to a past that never was, one that promises purity and escape from the mess of progress. It's a clever metaphor for how those in power often try to lure us back into a simpler, more dangerous world, all while disguising the bloodshed underneath. — WALPHS.com