Sinners – REVIEW & COCKTAIL – The Martini Shot

I’m gonna cut to the chase and not beat around the bush here: we’ve got an all-timer on our hands, ladies and gentlemen. 

I was admittedly getting a little worried that all we would ever see from Ryan Coogler from now on would be films attached to existing IPs. Not that those are bad movies, but the guy does deserve to let loose on something original and free of the confines of sequels and expanded universes to really let his talent soar. Thank the gods, Sinners is just that, and recency biased be damned, it’s now my favorite film of 2025.

This is such a harmonious blend of period-driven social commentary and sweaty, oiled-up horror action that flows between the two so seamlessly and effectively. It gets down and dirty, not only with its blood-soaked vampire shenanigans, but with the ideas of cultural identity, or the loss thereof when it comes to assimilation. Every actor is firing on all cylinders here, from faces we’ve come to know and love, to stars deserving of their newfound attention, to brand new faces born to be stars. And the music…not only is it another stellar composition from Ludwig Goransson, but it’s so intertwined into the film’s themes and soul, leading to some musical moments that made me feel as if I was levitating. Coogler has outdone himself, creating a genre film that delves deeper into the possibilities of what it can offer while still delivering on a damn fun time.

Set in 1932 Mississippi, two twin brothers return from years of gangstering in Chicago to open up their own juke joint for their community. All seems to go well until the spot is visited by a group of vampires, who are looking to add a young musician to their ranks due to his almost supernatural abilities with a guitar. What follows is a night of horror, as friends and family begin to be picked off one by one, creating an undead army that looks to destroy all the brothers have built before sunrise.

This is an absolutely stacked cast, ranging from big names to character actors, and everyone knocks it out of the park. Michael B. Jordan pulls double duty as twins Smoke and Stack, two entrepreneurial gangsters looking to bring the wealth they’ve amassed back home to celebrate with the community. The distinction between the two becomes obvious from the get go; Smoke is the no-nonsense, analytical mind of the duo, while Stack is the charismatic salesman, looking to entertain any and all that come his way. Jordan does an excellent job finding ways to give the brothers their own distinct identifiers in a way that isn’t super in-your-face and obvious. Simple gestures, postures and habits like rolling a cigarette make it easy to know who we’re following, while the integration of two Jordans on-screen feels seamless. Both are driven by the power of the dollar, though their reasons for it vary. Stack sees it as a way to give back to his people, while Smoke recognizes its power, something that he believes dwarfs the perceived power of the otherworldly. But when you’re up against vampires, it’s like bringing a stack of cash to a gunfight.

We are also introduced to Miles Canton, an acting newcomer that plays young blues prodigy Sammie “Preacher Boy” Moore. The kid has been in the music world for a hot minute, and there’s no shortage of that talent on display here. His voice is so alluring, capturing that magnetic pull that blues has on you; the kind that just sends shivers down your spine and shoots a wave of emotion right through you. Sammie is entranced by the world of music and all the dressings that come with it, like the notoriety and the doting gazes of pretty girls. Yet he’s not seemingly fame-hungry, feeling a deeper connection to the music that makes it seem as if this isn’t something he wants to do, but needs to do. It’s this connection that takes up the heart of the film’s story, especially once the vampires roll into town. They can offer him the eternal life needed to entrance the world forever, but Sammy, deep down, knows this isn’t what blues is; it doesn’t come from getting everything you ever wanted, but appreciating the things you have.

And the supporting roles are just too good to simply pass by, so I’m gonna try to give them their flowers. Hailee Steinfeld’s Mary represents a pretty interesting dilemma, seeing as how she is half white and half black. This gives her an out of many of the problems her darker constituents possess, though it does seem to be unwanted in her defense. Wunmi Mosaku plays Annie, Smoke’s ex-wife who delves into the spiritual side of the culture, making her this film’s vampire expert. Jack O’ Connel leads the vampires as Remmick, an Irish immigrant who genuinely shares some of the same experiences as Mississippi’s black population, though it becomes obvious that his offer of brotherhood comes from a place void of ownership of your own background. And finally, perhaps the most standout side character in my eyes is Delroy Lindo’s Delta Slim. This man has been around forever, and damn, he knocks it out of the park as the corn whiskey drinking blues veteran. He is absolutely hilarious in his motions and delivery, but there’s still a heart to him, one that’s deeply connected to the soul crushing reality that birthed blues to begin with. Seriously, across the board, up and down, there is not one disappointing performance here.

So the first half of this film is wildly different from its latter half, to the point where you kind of forget this is supposed to be a horror movie. That’s not a disservice to the movie, as truthfully, I found the first half to be the most engaging part. This provides ample time for you to get to know the characters, where the wants and desires become loudly apparent within the first minute of meeting them. You also get a good sense of the period as well, feeling the effects of the Jim Crow south in a way that allows the environment to tell the story rather than having cliches carry you there. All of this is so important because it actually gives you reasons for caring about any of these characters once the blood starts flowing. This is a horror film that is patient with building towards the more exciting stuff, but not a minute feels wasted. It all moves so fast and every scene that adds a new character or delves deeper into their motivations and psyche feels wholly intentional, actually servicing the plot rather than simply trying to drum up sympathy for when some of them eventually meet their end.

But don’t worry, the film remembers it’s a horror film in due time, kicking off with a tense build towards a dark inevitability. These are classic vampire rules at play here; garlic, wooden stakes, sunlight, and most importantly, they have to be invited in. This last element is used in such a fun, worrisome way that toys with our characters’ emotions in cruel and admittedly sometimes humorous ways. Eventually there is a big blowout that delivers on some solid horror action with plenty of biting, stabbing and phenomenal special effects and prosthetic work. And like any good vampire movie, it is horny as shit.  After Nosferatu, we may very well be in a vampire renaissance, and I am here for it.

Like I stated before, the music of Sinners is as integral to the film’s identity as it is to simply soundtracking the film. Longtime Coogler collaborator Ludwig Goransson captures a fascinating encapsulation of the early 1900s blues sound, yet there’s a purposefully timeless quality to it. As it should be, considering how much of an emphasis the film puts on music being ethereally linked to cultural identity, from the African American bodies to even the Irish vampires. This is illustrated multiple times throughout the film, but the most prominent example comes from a metaphorical barn burning performance from Sammie. I don’t want to spoil it because you should see it for yourself, but it essentially transcends time and subgenres to show how similar ideas in music persist from the beginning of time to modern day. Genuinely, one of the most impressive musical sequences I’ve seen in a minute. Let me tell you, I was levitating during this scene, and I wanna go back and see this movie again if not just to have that feeling one more time. It’s bold and may not seem like it would work on paper, but damn is it one of a kind.

But if you haven’t guessed yet, this isn’t simply just a pulpy vampire flick. It can definitely be enjoyed as one, but I think it’s worth a deeper dissection to really understand what makes this film so impactful. The film takes place during the Jim Crow era of America; a time where black Americans were technically free, but a lot stood in their way to make them truly free. A big part of Jim Crow was the idea of assimilation; essentially the erasure of cultural identities viewed as beneath the status quo in order to form one homogeneous society that would make empty promises. Sure, you can still enjoy your music and your food, but it will be on our terms. This is essentially what the growing vampire cult represents. It promises eternal salvation and community, but at the cost of truly owning your past and culture. Remmick even says at one point that the memories, experiences and sorrows of everyone he’s turned are now shared with him. While this may sound like a nice sentiment, it undermines the individuality of each of them. It’s super interesting to have the lead vampire in this be Irish, as they have also experienced plenty of their own anti-semitism over the decades. But I think it’s not controversial to say that a lot of their culture has become either Americanized or lost entirely, which may have to do with the fact that, unlike their black brothers, they can look just like the oppressors when everything that made them unique is stripped away.

It’s not really freedom, and a lot of our characters realize this. For this one night in this juke joint, they get to taste what real freedom is like. To drink, dance and be merry, all without an overbearing eye to make sure it all fits the standards of the day. And sure, mistakes will be made, people will get hurt, and hearts may break, but to be truly free means you’re given the chance to make and learn from those decisions yourself. From veterans to field workers, they’re all told to avoid the fruits of temptation, only because if they do, someone won’t be able to exploit them. Whether it be work, religion or society as a whole, there is always something telling you “no” when all you’re trying to do is live. These ideas culminate to a heartfelt ending, and even perhaps one of the greatest post credit scenes ever. That’s right, do not leave before the main credits finish, because you’ll miss out on one of the most earned scenes of the year.

Trust me, this is not a movie you wait to hit streaming or digital. Go see it in theaters on the biggest screen you have access to. My experience was definitely one of the best theater experiences of the year, where everyone was having a good time and enjoying a well made horror film in a respectful but lively way. That’s the fucking power of the theater experience; not throwing shit at the screen because someone said chicken jockey. I think we’ve earned a good theater experience after all that, and I hope you’ll give a piece of original work the chance it deserves.

RATING

VAMPIRE HUNTER

In my quest to vampire-proof cocktails, I have yet to find an adequate way to integrate wooden stakes and holy water into a drink, so I guess I’ll just have to settle on garlic. In truth, although garlic in a cocktail may sound strange at first, I actually find it to be incredible synchronistic with the flavors that come from bourbon and mezcal. Combined together, they create a smokey, pungent and slightly spiced experience that reminded me a lot of eating a steak with a little au jus. To drive the garlic home even further, you can garnish your cocktail with a clove (or two if you want to simulate a pair of vampire fangs).

INGREDIENTS

• 2oz bourbon
• 1oz sweet vermouth
• 1/2oz garlic syrup (1 cup of water + 1 cup of sugar + 4 garlic cloves)
• 2 dashes angostura bitters
• 1 barspoon mezcal
• garnish: garlic cloves

INSTRUCTIONS

1. Add ingredients to a mixing glass and stir with ice.
2. Strain into chilled glass.
3. Garnish with garlic clove.