Sinners is wholly all about music, not necessarily a musical, but about music. To its deep embedded core. It’s an eclectic investigation of music, most notably from the groundings of Zoroastrianism, or course. Telling us that music is the cause and solution to the rise of the spectrum of good and evil. Demonstrating that music is organized and arranged noise that can soothe and also seduce- even its audience.  Sinners is also, refreshingly,  whole heartedly, original. 

Written and Directed by Ryan Coogler (Black Panther) Sinners is planting the seeds of using the good vs evil of music to have a dialogue into the segregated Jim Crow laws of the South. An uncanny discourse into a subject with rich scenery and loads of texture. The scenes and shots of the set-up of the story, or what is regarded as, showing the status quo of the story is pure, outstanding filmmaking. Just captivating slow-burn stirring. To point that out is not to say the film goes sour after establishing the story, but it does take on a clear different tone. Because once the action/horror begins Sinners is then burning fast.  So fast that it is clear that there are two different film styles at play, which coincides with the investigating theme of  the duality of good and evil at play also. With so much duality in its themes and style,  it is no coincidence that the protagonists of the film are twins. Its most clever trick is that then the evil speak in this, their words of togetherness, and soft comfort is told in the most swallow empty tone. A perfect contrast that speaks more loudly to the wrongs of segregation that any of the gruesome horrors presented.

Costuming, acting, production design, and set decoration all definitely stand out the most to this film, what wounds it the most is the editing, and little nick picks with the script. . A few bits of clean-up and more cuts might make it more crisp, but that doesn’t take away from being a solid, great film that is never what you think it will be, or go. A great indulgence to experience. 8.2/10