All those greasy vampires in the trailers for 鈥淪inners鈥 don鈥檛 begin to hint at what the film is.
Hardly a horror flick, it鈥檚 largely a metaphor for other issues and it plays out like an engrossing account of history, specifically music.
Michael B. Jordan, foreground from left, Michael B. Jordan and Omar Benson Miller appear in a scene from "Sinners."
Directed by Ryan Coogler, the man behind 鈥淏lack Panther鈥 and 鈥淐reed,鈥 鈥淪inners鈥 is more ambitious than it lets on and has a moment three-fourths of the way in when you get the picture and what he鈥檚 trying to do.
The premise, though, seems simple. Two brothers (both played by Michael B. Jordan) return to Mississippi during the 1930s to spread some of the money they鈥檝e 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.
Michael B. Jordan stars as a entrepreneur hoping to build a juke joint in "Sinners."
Quickly, we see the pieces聽fall into place 鈥 and the relationships that preceded the return. Hailey Steinfeld turns up as one of the brothers鈥 lover; Wunmi Mosaku embraces the other. The proceedings suggest a reunion is possible but then we start seeing outsiders close in on the world they鈥檙e creating.
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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鈥檚 performers. He鈥檚 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 鈥淪inners鈥欌 most brilliant move.
Still, there鈥檚 the approach of outsiders and those vampires, trying to prey on the talent and life found within the joint.
Michael B. Jordan stars in "Sinners."聽
When Coogler starts muddlin鈥 his story, it鈥檚 easy to lose focus, particularly when Mosaku is such a mesmerizing character and Miles Caton, as the young musician, is such a brilliant find. He connects those dots as well (during a closing credits sequence) and makes you feel like you鈥檝e watched something more important than you think.
Whole swatches of the middle, however, need a return visit, particularly since you鈥檙e not sure who or what certain characters represent.
Those threats and comforts are interesting. They just need more explanation.
鈥淪inners鈥欌 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.
鈥淪inners鈥 shows how capable Coogler is at making good on August Wilson鈥檚 promise to tell generational stories. He gets his own 鈥淧iano Lesson,鈥 too, and our hope for even more.
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