'Sinners' review: Ryan Coogler’s messy vampire epic bites deep and sings loud

Courtesy of Warner Bros.

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A sexy, sweltering, seat-shaking plunge into the world of blues-loving vampires, “Sinners” finds Ryan Coogler at his most ambitious—and perhaps his most unrestrained. In 2025, it's a feat in itself to find a fresh angle on vampires, a genre long since mined dry. But Coogler doesn’t just breathe new life into the undead—he drenches them in sweat, soul, and symbolism.

Sure, the film isn’t without its flaws. A messy third act flirts with indulgence, and the world-building occasionally falters under the weight of its own mythology. But even when it stumbles, “Sinners” is a wildly entertaining ride, with Coogler pulling no punches. He’s clearly cashing in on the creative goodwill he’s built over the years—from infusing “Black Panther” with heart and purpose, to tastefully reviving the “Rocky” franchise with “Creed,” to making an unforgettable debut with “Fruitvale Station,” still arguably his finest film.

In many ways, “Sinners” feels like a return to something more grounded for Coogler—at least initially. The first hour glides with purpose. Set in Clarksdale, Mississippi in 1932, the film plunges us into a sultry, dangerous world under the hypnotic spell of Ludwig Göransson’s propulsive score, which practically rattles your seat. At the center is Sammie “Preacher Boy” Moore, a young man with dreams of blues stardom despite his father’s dire warnings (“If you keep dancing with the devil, one day the devil will follow you home.”) Miles Caton makes a striking film debut here, with an electric mix of screen presence and musical talent. He’s magnetic from the first frame.

Sammie’s already been dancing with the devil—namely his identical twin cousins, Smoke and Stacks, both played by Michael B. Jordan (because of course they are). Recently returned from a stint working for Al Capone in Chicago, the two arrive with deep pockets, endless booze, and a dream: to build the South’s most prominent blues club. Jordan brings swagger and danger to both roles, with some of the best dual-role VFX work this side of “The Parent Trap.”

The film finds its rhythm in this first hour, as Smoke and Stacks reconnect, haggle, and negotiate with local figures—an aging blues legend named Delta Slim (Delroy Lindo), a former flame (Wunmi Mosaku), and the lovable Cornbread (Omar Benson). As the joint begins to thrive, Coogler digs into themes of generational trauma, artistic legacy, and the transformative power of music. One transcendent sequence—where Sammie’s performance literally bends time—is pure movie magic, the kind of bravura filmmaking you rarely see anymore, especially in genre fare.

But then the vampires show up.

The tone shifts, and not always smoothly. Still, credit where it’s due: Coogler doesn’t just tack on bloodsuckers for shock value. His take on vampires is both allegorical and radical. They’re not just predators; they’re revolutionaries, with a shared vision of eradicating hate and inequality. Jack O’Connell delivers a haunting performance as Remmick, the vampires’ eerie and oddly philosophical leader. He speaks in almost hypnotic monologues about peace, love, and folklore, like a hippie cult leader with fangs. The subtext isn’t subtle, but it’s rich and intriguing.

At its core, “Sinners” is a story about cultural survival, especially for Black artists trying to carve out space and legacy in a world set against them. That it also features neck bites, campy gore, and sweaty, seductive sex scenes is just the cherry on top. There’s a version of this movie that might have worked even better without the supernatural elements, but it’s easy to imagine that in order to get a studio to fund a risky original project like this, there needed to be a flashy genre hook.

The ensemble cast is strong across the board. Jordan is devilishly good in both roles, Hailee Steinfeld adds texture as Mary, a former lover of Stack’s, and Caton emerges as the film’s breakout star—a generational talent with vocal chops to match. He elevates every scene he’s in and clearly has a bright future ahead.

“Sinners” doesn’t always hold together. The vampire lore is undercooked, and the film suffers from multiple endings—including a post-credit scene that overstays its welcome. But even when it falters, its boldness is undeniable. It may not make perfect sense, but it doesn’t have to. This is the kind of big, soulful, original swing that Hollywood needs more of.

It’s messy. It’s maximalist. But damn, it’s alive.

Grade: B+ 

SINNERS opens in theaters Friday, April 18th.