Revue of “sinners”: Coogling's Gory, glorious Southern Vampire Horror Musical

What a rush to the blood to leave Ryan Coogler's “Sinners” aware that you saw not only a great film but an eternal film, which will transcend today's box office and the prices of tomorrow to live as a favorite forever. If the cinema had a dozen more ambitious populists like coogulating, it would be in the health of Tip-Top. The young filmmaker who began his career with Indie Sundance 2013 “Fruitvale station” had to do three shots of frankness – a “Rocky” and two “Black Panthers” – Before bringing green light to direct its own original spectacle. It was worth waiting. Let the next coogus get there faster.

“Sinners” took place in 1932 Mississippi where the teenage son of a preacher, Sammie (Miles Caton), risks his soul to sing with a guitar. His father (Saul Williams) judges him a sin. “You continue to dance with the devil, one day he will follow you at home,” warns his father a few minutes from the film. From the opening scene, a flash-forw to Sammie stumbling in the church, bloody and half-catatonic, we already know that he is right.

Oh, and there is also a vampire of smooth chances called Remimick (a slippery Jack O'Connell) whose bites transform his victims into a folk group that hides fingers, slamming the neck of their instruments from front and back as an act of Vaudeville.

Coogeling three genres faced – drama, musical and monster film – in a hymn on the fight to create something beautiful during your time on earth. A party, a song, an eternal commune, each major character in the film reduces a kind of dream, the same essential proof that they have experienced. The phenomenal score of Ludwig Görasson Backs coogex upwards, superimposing victories on Doom Metal as if they were supposed to harmonize. It is music that you have never heard and yet it seems to come in the depths of our pop-cultural soul, a symphony of violence for a country that looks at a violin affair and imagines a Tommy pistol.

Structurally, vampires do not appear before the second half, which gives us a lot of time to rhythm with our human characters. Jordan's smoke and battery are identical to mustache and alignment with almost everything. We are left to disentangle their differences. The smoke is calmer, vigilant and more dangerous. He can (and do) shoot a friend in the Keister without hesitation, then take off $ 20 for his medical invoices. The battery is more flashy: gold tooth, free wheel energy. My only problem is the decision of the costume team to accessorize smoke in blue and battery in Flame Red. It is quite difficult to separate them without having to reclass your brain that Jordan not The name of a fire is the Jordan dressed like one.

The film grew up with sex appeal. The two twins have at least distant women: smoke was once with Annie (Mossak), a sorcerer's botanical healer, while Stack had a great bankruptcy with Mary nervous and white (Hailee Steinfeld), whose mother took the boys on the death of their father. As for Innocent Sammie, played with a strong presence by the actor for the first time Cato (a gospel singer who began to occur as toddler), he aspires to Pearline (Jayme Lawson), a impetuous married woman who abandons her husband for the opening of the club and gets the walls of the walls.

At that time, the juke joint also recovered four other employees: a drunk pianist nicknamed Delta Slim (Delroy Cute), a handmade of hand in hand on the ground called Cornbred (Omar Benson Miller) and BO and Grace Chao (Yao and Li jun li), a married couple who directs city grocery stores. Manipulate all these people to make their auctions, the charming although morally intestinal twins are talented to transform a no into yes. When Slim is reluctant to skip his stable concert for these sharks, Stack almost magically offers him an Irish beer with a smuggling of Chicago. The Boozer takes a sip. “Act now and I will even let you finish this bottle in your hand,” said Stack with a smile. He would kill on infopmucal.

The coogler's script offers everything he promises with macabre development. Very early on, the twins tell Sammie that he can bring their red car back to the house in the morning – and again, from this very first stroke of introduction, we know that it will happen but without the twins. If a character threatens to draw another where they stand, it will come true, and if the smoke warns a girl to monitor the thieves, then they must be right at the corner of the street. From spraying of sweaty bullets to buzzing to buzzing that turns above the head, “sinners” do not hold back as if it was too sophisticated to give the public what they want. Sophistication is there in his style and confidence, in the way he exposes this story with the own and cruel threat of a poker dealer who planned exactly how the house will win.

This franchise means that I am inclined to believe that Remmick and his emerging cult of blood suckers when they swear that the beyond is the only place where our protagonists can really be free. Immortality offers a liberation that the South of the time of Jim Crow does not make both for black characters and even whites, whose special sectarian status ends up shrinking their options. Racism plays here during meetings that we have not seen a thousand times, as when the brothers refuse to allow a handful of white musicians inside the club – a justified paranoia of what could happen if a black boss erased one of their shoes.

And while the moviegoers have seen many vampire scenes, those here cut so quickly that I am two spirits on the way they take place. Annie, our paranormal expert, is instantly aware of what they are and how to fight them. (She puts the survivors through a tense garlic eaters' test which is the coogel of Fanboy of “The Thing” by John Carpenter.

What is more interesting is the question that these vampires resolve: why would one of their prey fight to stay in this hard and unfair world? The twins live with time borrowed. They narrowly escaped family abuses and the German trenches of the Great War. Now the mafia is also after them. They have the choice: a short life or eternal.

Michael B. Jordan in the film “Sinners”.

(Photos warner bros.)

There is not much hem and hawing on the dilemma. Coogling keeps things at a clip. He decided to make an adventure that is intelligent and fun equal, and when she is forced to prioritize, earn them fun. It wouldn't surprise me if he was setting his script from each too thematic line on the nose. (Almost.) He wants the free public to be moved by this emotion that resonates personally – desire, fear, pleasure, disgust – and, in this way, “sinners” work more like a pop song than a great statement, the kind of high level job deceptively simple than few people can achieve.

Blood effusions – the waves of it – present in crescendos. The fears are intelligent, in particular a teasing and scary song where a locked killer pierces a door with a knife and characters who should know how to continue to take a look in the hole until we want to shout that their eyes are in the beach of stabs. The director of photography Autumn Durald Arkapaw runs on a film for Imax and each of his executives is clear and precise.

However, as well as the fights are, you are leaving to talk about music. Yes, the songs of Sammie will invoke evil – and do. But music also saves people. You hear this theme in the way the singing passes the time for workers in the cotton rows, and in the scene when Slim tells a story on a friend who was lynched and that the cries of the man resonate in the present until Slim hums and beat his fingers to overwhelm the sound of all this pain.

Music has a lifespan that overshadows any vampire; It is the heart rate of humanity that dates back to our very first camping circles. To prove it, the centerpiece of Coogler is a giant and folding number in the time when the past and the present take care of the dance floor: B-Boys, Pearl tribe, twerkers, clones of Misty Copeland And Bootsy Collinsancient peoples in African masks. The camera takes the whole party, then it bows up: the roof, the roof, the roof is on fire. Let this rage burn.