I was lucky to see Sinners at BAFTA with
a few days ago, knowing only 2 things about it - it has vampires and the producer is Armenian (Sev Ohanian). I had no idea what to expect and the only vampire film I had seen in my life was Interview with the Vampire (all I remember is Tom Cruise’s overpowdered face).We left the cinema elated, entertained, moved and amazed - just like you should after a great film. Sinner is simply impossible to dislike, made up of so many elements - entertaining story, great cast, political dimension, vampires, comedy, fantastic visuals, beautiful beautiful music and Michael Jordan not once, but twice as super slick and impeccably dressed twins Smoke and Stack.
It’s variously described as a southern gothic horror, or a vampire comedy flick, or a revenge and redemption film, or some other thing. In a way, it’s all of it and that’s the beauty of it.
I just loved the story and the drama of the characters, and while Michael Jordan’s twins do have a central role, it’s very much an ensemble cast, every single one of them shining. It’s impeccably cast, every secondary character having a depth and story to them, the men - cheeky and charming; the women - smart and sassy - and all of them so interesting.
Wunmi Mosaku, a British actress who I know from so many soaps and series, is an absolute queen there as the wise, bossy, gorgeous ex-wife of one of the twins.
(Side note - When I was searching for images of Wunmi Mosaku, came across to this ridiculous, patronising headline (Wunmi Mosaku in “Sinners” is proof that big-bodied black women are desirable in film) from Marie Claire. If an influential magazine like that publishes articles like that, what hope do we have for women to be confident in their bodies?)
I also didn’t know that Jack O’Connell, one of my favourite British actors (superb as the deranged daredevil poet Paddy Maine in SAS Rogue Heroes) is in Sinners too as the cute and quite persistent singing-dancing-biting Irish vampire.
The whole vampire storyline was fun but it’s just one element of the film - I wouldn’t call Sinners a horror film myself. The vampires manage to create tension, be political and comedic at the same time. There were a few narrative moments about them which didn’t make sense to me - everyone kept talking to them through the open doors, and I was worried they’ll be attacked. However I read later on, at home - testament to my ignorance about vampire things - that a vampire can’t enter a house unless invited. Which I find so hilarious, that while evil - they are so well-mannered. Which also explains the bits in the film I didn’t understand.
One of my favourite things about Sinners was the delicious, intense music: the film is filled with real, authentic blues tunes that come straight from the heart and are still alive in so many genres. Just listen to how wonderful this is.
Visually, the film looks amazing - blue cotton fields, the heat and music hanging in the air, pristine-white church and its gospel singers. Technically, it’s quite groundbreaking, as is simultaneously shot on widescreen Ultra Panovision 70 and IMAX cameras, creating impressive cinematography (Read this, and if you can, go and see it in the locations with all the IMAX features).
In short, a great film, defying lots of genres and conventions with passion and beauty, and probably unsettling lots of reviewers as they don’t know how to approach it or what to call it. Of course if you want to find faults, you will - but go and watch it and marvel at music, dancing, love stories, opression stories, sexiness of the characters, costumes, Michael Jordan’s muscles, the women’s beauty, jokes and line-dancing vampires delivering speeches about racism. It’s brilliant.
A warning: Don’t leave the cinema during the credits; wait for the very last ones. There are some surprises and several endings (I'm trying hard here not to spoil it, as I loved those endings).
PS - the only thing I wasn’t impressed with was the poster of the film, as it looks like a post-apocalyptic action film, while it’s much, much more.
Great film and great review