I saw "Sinners," and thought it was amazing. For those who might be, don't be put off that it's listed as a "horror film." It's mostly a period film, with vampires, and that part his far from the whole film. The soundtrack, mostly Delta blues, is fantastic, with some Irish music in there, too.
@Kieran
I finally got to watch this, at sister
@Moxie recommendation. I probably wouldn’t have otherwise, but the missus is away - she won’t watch horror and violence - and it’s a good way to think of Susan. I have to say, I wish she was here. We might have a good Barney about this one. We might agree a bit, too. Reading
@Fiero425 say it sounds like the Colour Purple with a vampire twist isn’t far off.
There are
SPOILERS ahead!
It’s got genetic capital-B black themes, with the vampires being an explicit metaphor for the Klan, and the old chestnut about the bluesman selling his soul to the devil at the crossroads more or less literally takes place in this film.
Others have told me it reminds them of Tarantino’s film, From Dusk To Dawn, which it does, and could have benefited from his flair for writing and blending genres, but none of these derivative qualities would be enough to disqualify it from being a great film. They might even aid it. The acting is supreme, the filming, the music, everything is gorgeous.
Michael Jordan deserves all his plaudits, and so do the rest of them. It became very creepy in parts and it subverts the usual gothic vampire spiel by having it happen in the 30’s in Mississippi. It respects the vampire rule that they must be invited in, but their attempts to cadge an invite don’t resemble Victorian gentlemen trying to cajole a trembling innocent with love-words, but often violent threats and very virile insinuations that what comes next is better for them all.
There’s an Irish element and great Irish music, and a parasitic Irish vampire who wants to turn a young bluesman, to get his music.
Where it doesn’t quite reach greatness is in the climax to the movie, where everything is at stake. Literally. It just kind of fizzles out rather becoming gripping. The Klan then turn up to prove they’re no metaphor and there’s more gore. But all this is quite predictably done, looks more like television than cinema, and so it doesn’t hugely impress.
But there is an immensely impressive coda buried into the credits. The credits pause and and there’s a scene with the young bluesman is still playing, sixty years later. He’s played now by the real bluesman, Buddy Guy. He’s drinking alone after a show, and he’s visited by two of the main characters from back in the thirties. Two vampires.
They have quite interesting discussion, about the ordinariness of things since that night. And the religious blues singer is made an offer. It’s quite poignant, seeing the vampires, played by Jordan and Hailee Steinfeld look powerful and young, beside the faded singer, who is younger than them. Then the credits continue, with more great music. Soundtrack on this one is excellent.