The Smoke and Stack twins are back in their native Mississippi after having made a fortune as a henchman from Al Capone to Chicago. Botin in pocket, here they are owners of an old sawmill which they convert into a nightclub for the black community: slavery is officially abolished, but not segregation. While dance fever seizes the crowd, outside, a vampire is attracted by the blues music of the young Sammie. Before arriving at the announced massacre, a good hour and a half will have passed: it is only one of the many problems of Sinners (Sinners), an ambitious, but wobbly film, combining horror, music and metaphor.
Written and directed by Ryan Coogler, at the origin of the much more successful Creed et Black Panther (Black panther), Sinners imposes 45 minutes well counted in place before a semblance of action occurs. We feel the desire to brush an evocative medium painting upstream, but the incessant dialogues, with often confused flow, undermine these inclinations.
Unlike replicas, music turns out to be formidable, even sometimes galvanizing (a number Riverdancevampiric version in the moonlight, strikes the imagination). It is, on behalf, some significant images, such as when the roof of the building ignites.
Michael B. Jordan, assiduous collaborator of the filmmaker, plays the Smoke and stack twins adequately, but the talented actor was more memorable elsewhere. The reason for gemellity is not much exploited in this case, and only seems to be intended to give the star as much screen time as possible: Smoke and Stack could have been friends played by two different actors without it changing anything in the film.
As it happens through a white character (Jack O’Connell), vampirism can immediately be perceived here as a metaphor for racism which has historically decimated the black community. Added to this is the concept of internalized racism, once a member of the “contaminated” community. The concept is fascinating.
Late gore
There is, in Sinnersa lot of From Dusk till Dawn (The longest night), by Robert Rodriguez, a film already strongly inspired by Vamp (Vamp. Midnight club), from Richard Wenk (with an unforgettable grace). What these two films had, and which is sorely lacking in Sinnersit’s humor: here, ambient solemnity becomes boring.
And that’s not to mention the lengths and the three (three!) Successive outcome, postponed to the end credits.
On the other hand, visually, there is something to put in the tooth. In fact, the budget of 100 million US dollars, inaccuting for gender, is visible on the screen: historical reconstruction, artistic direction, costumes and special effects are of the first order.
When we are right there, the gore springs with power. However, at this stage, perhaps horror lovers will have exhausted their reserves of patience.
