Director Ryan Coogler popped on the Hollywood scene with FRUITVALE STATION, which also helped Michael B. Jordan make his first big acting splash. They’ve since worked together quite a bit, in BLACK PANTHER and the CREED franchise. Their newest collaboration is SINNERS, a period piece (set in 1936) in which Jordan plays twin brothers Smoke and Stack, who are trying to leave their troubled lives behind while returning to their hometown to start again by opening up a Jook Joint – a private club for black men and women to dance and drink safely during a time where racism is still very prevalent. They recruit old friends and trusted acquaintances, and even run into old flames who find themselves embroiled in the brothers’ scheme. One of the folks recruited to help is Sammie Moore (newcomer Miles Caton), who plays a guitar and sings like a master jazz musician, despite his preacher father disapproving of his hobby, believing it to be sinful. As things come together for the opening of their club, Smoke and Stack must face the demons of their past, unresolved relationships, and the struggles of their people and their lack of wealth… but the biggest obstacle comes in the form of a mysterious Irish man named Remmick (Jack O’Connell) who brings an evil threat into the mix that may destroy them all.

The trailers spoiled the big twist of the story, in that the threat that comes to Smoke and Stack’s new business venture is that of vampires, and the party members get turned one by one, until finally an epic battle must play out until the last man is standing. One could easily draw comparisons to the Robert Rodriguez movie FROM DUSK TILL DAWN, which Coogler has openly stated was a big influence. But where that movie is played broadly for fun and laughs, SINNERS is a dark, sexy and at times highly disturbing tale, and one that feels more grand in its spectacle, thanks mainly to the phenomenal visuals, shot with IMAX cameras and making full use of the cinematic technology. Coogler has always been thoughtful with his visual flare, and so much of this project is spectacular in its presentation. A few sequences that could have played in a very “normal” way are presented in a striking and imaginative style. There is one particular sequence about halfway through that explores the idea of music being played in a way that opens the sounds of the past and the future around them, and it’s one of the coolest scenes I’ve ever seen in just about ANY film. Another thing Coogler does masterfully is give every character a spotlight moment to shine, even side characters you might not expect to have much to do. This is a film in which almost every personality on screen is memorable and important in some way, and it’s nice to see that handled with such caring and patient execution.

Michael B. Jordan does an excellent job of playing both Smoke and Stack, who are similar in many ways you’d expect twins to be, but somehow still look and feel like two distinct individuals – and the way this is shot is incredibly convincing, in that several scenes will make you think you’re watching two actors and not the same person playing two parts, thanks largely to constantly moving cameras and little technical touches that sell the idea of these being two separate people. Jordan also finds the haunting humanity in these characters to make them seem formidable and yet vulnerable, very layered and rich personas. Miles Caton is exceptionally good as Sammie, the musical wunderkind who in some ways works as the eyes of the audience, but holds his own quite nicely with the other more seasoned actors. Hailee Steinfeld is wonderful as Stack’s former girlfriend who is still enamored with him, and crashes the party to prove it. It’s a sexy and unusual performance for the talented young actress, and definitely shows a range some might not see coming from her. Also shining here is Wunmi Mosaku as Smoke’s former lover Annie, also the mother of his child who sadly didn’t survive after birth. She plays a woman who believes in the magic and mystical forces in life, and adds a nice layer of mystery and intrigue to these characters. I was also quite happy to see the great Delroy Lindo back on the big screen as Delta Slim, an alcoholic musician who helps lead the party when the Jook Joint opens. But while Miles Caton is the big standout here, the other standout worth mentioning is Jack O’Connell as Remmick, who isn’t just creepy and effective as the dark presence terrorizing our unsuspecting partygoers, he’s also a very interesting and rich character, and one of those terrific villains who in the end may actually have valid points, and make the audience question whether or not he’s actually a bad person.

SINNERS isn’t just a great horror film, it’s a phenomenal cinematic experience, and a production that demands to be seen on the biggest screen possible. If you have the ability to see it in IMAX, you really should, especially since it’s one of the few films to expertly make use of the technology in a way that absolutely adds to the presentation. It’s also proving once again that Coogler and Jordan are a magical combo, and really understand how to deliver solid cinema. Even with its two hour and 17-minute run time, SINNERS never feels tedious or overly long. Be sure to stay through the credits for not one but two stingers, both of which are worth the wait.

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