Sinners

An exhilarating survive-the-night vampire thriller with a top-tier cast and remarkable level of connectivity between story and score. Whether a performance scene in the film or Ludwig Göransson’s score, everything about the music in Sinners feels alive.

Veering confidently between pulpy and profound, this ambitious, if occasionally uneven, meditation on art, appropriation, betrayal and redemption never sacrifices what’s on its mind for its primary aim, which is to shock and enthrall.

The movie’s alive, and the actors seize the day, from Mosaku’s grave and beautifully modulated Annie to Steinfeld’s note-perfect embodiment of a femme fatale who’s fatale in unusual ways.

“Sinners” has a lot of important things to say, but they’re all cleverly cloaked in a period piece populated by vampires.

This collision of “Queen of the Damned” and “From Dusk Till Dawn” offers plenty of spectacle, even if it offers few new wrinkles to the vampire mythology, especially as it relates to the film’s Southern setting.

Music is a conduit in Sinners, making for an electric, lively first horror effort from Ryan Coogler. Here’s to hoping it’s far from the last.

Definitely an acquired taste, but thanks to Jordan’s charismatic display (and some bewitching song sequences), an undeniably memorable experience.

There’s a certain rhythm in Coogler’s work, and it’s on full display in “Sinners.” He nicely captures the slowness and community of small-town southern Blackness.

Sinners is a horror masterpiece from Ryan Coogler and you will want to watch it over and over again.

In a genre in which... we've seen it all before, Sinners injects some fresh new energy in there, makes it feel unique.