Writer-director Ryan Coogler’s latest feature film “Sinners” opened over the Easter weekend. So far, it has received both critical and commercial praise for offering an ambitious, layered and stunningly well-mounted audiovisual experience, all within the confines of a relevant story. With glowing word-of-mouth reviews spreading like wildfire, it not only had the biggest opening weekend for an original feature “since pre-pandemic times,” but went on to see a mere 5 percent drop during its second weekend at the box office. This is “one of the smallest drops” for any film in over a decade. Even more impressively, this trend is unprecedented for a film falling under the horror genre, suggesting that the film has found a wide appeal far beyond the typical audience base for horror films. As such, many eager moviegoers who might find themselves hesitating at the thought of going to watch a horror film (much like this author himself) may be facing one question: how scary is the film, exactly?
Given that bloodthirsty vampires play an important role in the story, viewers who are sensitive to the sight of blood, stabbings and moderate injury detail would indeed be advised to skip the film. However, those who are concerned simply about the horror aspect may want to think twice before passing on it.
First, a fair warning is in order. There are a few jumpscares to watch out for, especially during the opening scene where the edit pattern could take viewers off-guard. It is recommended that viewers who are averse to horror be prepared for a few such moments, perhaps even keeping their eyes half-closed during the opening scene (this author certainly did). However, these moments are exceptions; they do not set the tone of the film. In fact, if a viewer were to somehow miss the opening scene, they might find themselves wondering if this is eveneven is a horror film for the bulk of the first hour.
This is because at its core, “Sinners” is an authentic period drama where Coogler depicts racial segregation in 1930s Mississippi from a much-needed Black perspective, one that is not necessarily represented in school textbooks. The patiently detailedpatiently-detailed world-building is infused with moments of humor and romance, establishing a genuinely endearing set of characters brought to life by an excellent ensemble. The power of music also forms one of the core threads of the story, expressed through Ludwig Göransson’s fantastic score and especially in a beautifully conceived sequence midway through the film which has to be seen to be believed. The horror elements peek in later on but even then, it becomes more of an action thriller—and an absolutely riveting one at that—than a traditional horror film. The finesse with which the film seamlessly integrates all of these seemingly disparate genre elements into its tense atmosphere is one of its biggest assets, to the extent that viewers could even forget that they are watching a horror film to begin with. The stakes and tension are built so well that it becomes tough to look away from the screen even during the scarier moments.
“Sinners” may be billed as a horror film, but it is not at all obsessed with the idea of being one. The horror elements are not gratuitous, in-your-face or inserted for shock value. The film does not rely on overly grotesque visuals, chilling voices or unnerving movements, aside from having quite a bit of bloodshed. The “horror” of the film is really in how unexpectedly human the vampires are, which fits right into Coogler’s commentary on racism and the philosophical subtext of what it means to be liberated. The sharp, tasteful editing also does the work of showing only as much as necessary; many scenes which could have easily been mined for cheap scares or disturbing visuals are instead cut away from to focus on telling the story. The film always prioritizes the humanity of its characters over the supernatural, which is precisely what makes it such a compelling experience. The focus is on following the emotional graph of the story rather than actively trying to scare the audience for the sake of it.
The result is that “Sinners” is far more than a horror film; it is a potent reflection of real human experiences from a firm cultural perspective, employing the genre elements only as far as they serve the story rather than the other way around. Thus, even viewers who usually tend to skip horror films should not shy away from giving “Sinners” a chance, as they will likely find that the film has plenty more to offer them. It is ultimately a thoroughly entertaining and impactful experience that should be witnessed on the big screen, ideally in a packed screening to fully absorb the impact of its gripping storytelling.