Ryan Coogler’s new movie Sinners is set in 1932, a time when its characters, including twin brothers nicknamed Smoke and Stack, both played by Michael B. Jordan, might have had the chance to see the movie Dracula, which was released the year before. However, given their busy lives working for Chicago gangsters, it’s possible that catching a flick was low on their priority list. Interestingly, John Dillinger met his end just outside a movie theater a couple of years later, adding a layer of historical intrigue to the film's backdrop.
In Sinners, Smoke’s former love, Annie, portrayed by Wunmi Mosaku, is deeply connected to religion and mysticism, making her the go-to for vampire lore. When the brothers encounter a group of vampires later in the film, it’s Annie who educates them about the classic vampire weaknesses: sunlight, stakes to the heart, and perhaps even garlic. Unlike the seductive and solitary Dracula, the vampires in Sinners present themselves as a collective—an army that preaches a form of equality among the damned, emphasizing a hive mind that thirsts for souls.
The film follows a different tradition than the classic vampire narrative, leaning into the vampire siege genre. This genre has evolved as filmmakers have sought new ways to present vampire horror, especially given the iconic status of Dracula. While Dracula is a singular figure, his identity forever intertwined with his monstrous nature, the collective of vampires in Sinners reflects a trend that has gained traction in the wake of George Romero’s zombie films, which often feature humans holed up in fortified locations.
In Sinners, the vampires are not merely mindless predators; they are strategic and crafty, presenting a more formidable challenge than the relentless zombies. This dynamic echoes themes found in Stephen King’s Salem’s Lot, which also utilizes a vampire collective, and resonates with the teenage vampire gang in The Lost Boys.
Coogler’s film draws from earlier vampire siege movies, like 30 Days of Night, where a small group of humans must survive against an overwhelming vampire force in a remote Alaskan town, and From Dusk Till Dawn, where unsuspecting travelers fall into a vampire trap. In Sinners, the juke joint where the action unfolds has just been reclaimed for the Black community, adding a layer of cultural significance to the story.
Unlike the solitary Dracula, vampire-siege movies focus more on the “turning” of victims into an undead army, creating a more purposeful collective than the mindless zombies of traditional horror. This thematic shift makes Sinners more thought-provoking than a simple allegory of white vampires versus Black humans. Instead, it delves into the complexities of American assimilation, presenting a multiracial coalition rather than a straightforward good versus evil narrative.
Coogler cleverly subverts the typical vampire narrative by illustrating a reversal in the struggle against evil. In many Dracula adaptations, a group of men bands together to defeat him. However, in vampire group narratives, the humans often find themselves as the hunted, relying on resilience rather than brute strength to survive. This element of survival is woven into the historical context of the film, highlighting the grim realities faced by marginalized communities.
In a typical vampire siege movie, at least a few survivors emerge by the end, and Coogler uses these slim odds to illustrate a form of miracle that is less supernatural and more grounded in reality. The film’s historical context enhances its themes, making it a rich tapestry of horror and social commentary.
As for the film’s release, only eight U.S. theaters are showcasing Sinners as director Ryan Coogler intended, utilizing IMAX film cameras for a unique viewing experience. Coogler expressed his excitement about capturing the film on a format he fell in love with during film school. He hadn’t initially considered using large format IMAX for Sinners, which tells the story of twin brothers facing a vampire infestation in a small Mississippi town, until a Warner Bros. executive suggested it.
“In this day and age with folks having so much access to streaming and watching so many things on their phones, it’s nice to have a format like IMAX that can be an experience you can only experience in the theaters,” Coogler said in an interview with the Associated Press.
The eight U.S. theaters showing Sinners in IMAX 70mm include Harkins Arizona Mills 18 & IMAX in Tempe, Regal Irvine Spectrum & IMAX in Irvine, Universal Cinema AMC at CityWalk Hollywood & IMAX in Los Angeles, AMC Metreon 16 & IMAX in San Francisco, Autonation IMAX Theater in Fort Lauderdale, Indiana State Museum IMAX Theatre in Indianapolis, AMC Lincoln Square 13 & IMAX in New York City, and Cinemark Dallas & IMAX in Dallas. Additionally, seven theaters will show Sinners using IMAX with laser technology featuring 1.43 sequences.
Films shot in 70mm are known for their superior detail, color, and depth compared to most modern films. As the U.K. Science and Media Museum noted during the release of Christopher Nolan's Oppenheimer, “70mm is a must-see experience for film fans.” This emphasis on quality is a testament to Coogler’s commitment to providing audiences with a cinematic experience that honors the art of filmmaking.
In a world increasingly dominated by streaming services, Coogler’s Sinners stands out not just for its unique narrative and historical depth, but also for its dedication to the theatrical experience. The film invites viewers to engage with its themes on a deeper level, ensuring that it is more than just another horror flick.
