coogler spoke to nolan to get advice on how to shoot a film where the main character is playing twins
Movie News: Ryan Coogler & Michael B. Jordan - SINNERS - jim crow era vampire flick (SPOILERS OPEN!!!)
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coogler spoke to nolan to get advice on how to shoot a film where the main character is playing twins
Matt Barnes
I know I had that shit wrong. Why was I thinking Doug Christie?
Yea, I definitely view it as a action film. one with a delayed start. I say that because there are action films that are done in the same manner, where the action doesn't really occur until the 2nd half of the film. I can't call it much else because there's no real drama for it to be a drama film. The whole first half is setup for the 2nd and everything happens in a day. So there's no real depth or development that you'd get from seeing characters go through struggle or hardship over the period of days or weeks. There were no emotional moments or anything in the first half that would drive it into being considered more than an action film (from my perspective). The top half was character building and anticipation for the climax, tied in with some jokes. Then the 2nd half, all hell breaks lose lol. So yea, I mean others may view it differently, like I said it's subjective. But as a film maker myself, love the way it was shot, the coloring, cinematography, angles used and why, and how they got certain things done via the bts? Fire.
Unfortunately not much for this movie. Since nothing really happens until the 2nd half, you get a few floaty movements and some vibrations on the car rides in the beginning. During the climax? You're getting thrown around a bit with a bit of water splash added into the mix. Because it was so limited in this film I could've went without it. But I got it as a way to make sure that I didn't fall asleep during the movie lol. only had 2 hours of sleep the night before and was tired af but I wasn't gonna miss it on opening day
I love how Ryan Coogler does not allow his speech impediment, the stutter, to prevent him from speaking publicly, because he's clearly brilliant and has a lot to say
It's available to download...
The more I think about this movie the more I love it. Any story that is told through music always gets me because I love music so much, as well as the history of it. This was story telling at its finest. Everyone did a great job. I always trip when I see Big Omar in films because i used to play against him in a basketball league, not knowing he was an actor until 8 Mile. This movie was like a horror version of Idlewild with storytelling through music like Kedricks Reincarnated.
Don't do it
which talk to me you talkin bout? I was all set to give props thinkin you meant Don Cheadle/Ejiofor/Kasi Lemmons (2007) but then recalled the horror flick and realized oh that’s more likely your reference lol. I still gotta check out WOMAN KING tho so thanks for biggin that one up too. Hope HAVOC has even a little bit of that RAID sauce on it lol
Every person of color in the theaters I saw it in seemed to love it. Applause and cheers etc etc throughout. More than a few white folks were uncomfortable and or eager AF to get out when the hint of end credits kicked in… missing out on hella more movie lmao.
And the ones who did stay couldn’t wait to start tearing it down talkin loud and sayin nothing with shit eating grins all over they pale faces lmfao.
Aggregate of 3 different paying audiences - IMAX, Dolby, standard - each 2/3–3/4 full auditoriums. Different theaters but same general area.
And the ones who did stay couldn’t wait to start tearing it down talkin loud and sayin nothing with shit eating grins all over they pale faces lmfao.
Aggregate of 3 different paying audiences - IMAX, Dolby, standard - each 2/3–3/4 full auditoriums. Different theaters but same general area.
I thought u did it on purpose....Matt Barnes
I know I had that shit wrong. Why was I thinking Doug Christie?
I thought it was your elevated jokes!
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He's speaking it into existence. They just have to put a Puerto-Rican wig on him for his curly fro.
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The comments section smh
He stole the movie.
I was raised on the Philly.com comments section. Some folks debate the debauchery between YouTube and Yahoo comment sections but to me Philly.com will always hold the worst thoughts by the worst human beings on the planet.
Nah bro. I ain’t at all see it like that
She way too paranoid for a threat;
motherfuck them big teeth; sucka get this chun li, sucka BUM!
motherfuck them big teeth; sucka get this chun li, sucka BUM!
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It's not the debauchery it's the white people that evidently saw a totally different movie
This movie was stressful. Great movie. Bloody ending.
Sinners
There's more going on here than just a wildly entertaining vampire story.By William Goodman
Published: Apr 18, 2025 3:00 PM EDT
Warner Bros.
WHY SINNERS? WHEN news broke back in February 2024 about writer/director Ryan Coogler’s newest project, buried inside the story was the fact that Coogler would eventually retain ownership of the movie. After years of working on other people’s projects (OPP if you’re nasty), here was this “period genre pic,” as described by the trades, as something he would stake out on his own to claim. Yet even as the Warner Bros. marketing machine spun up and audiences learned more about the plot, the proverbial why of Coogler’s intent lingers in the air like the summer haze of the film’s Mississippi Delta setting.
After watching Sinners, that question is answered in short order. While the plot of the movie is about many things, the most engrossing thematic reading is one of creative ownership. Despite Coogler’s meteoric output thus far, Sinners is the first wholly original work. Creed, Black Panther, Wakanda Forever, and even Fruitvale Station are adaptations of fictional or non-fictional stories. The whole plot of Sinners hinges around twins Smoke and Stack (Michael B. Jordan, more magnetic than ever in his roles as the two) and their quest to define a creative space for their community. We see Smoke and Stack going around town to recruit Black artisans, most of whom are working for someone else, to come together as collaborators in the service of a larger purpose. It’s time for an “opening night” in a space created entirely for “just for us,” not unlike how Coogler went about selecting his co-workers for this project.
Warner Bros.
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As Sinners continues, there’s a throughline about the power of art. It’s not shocking that the second Sammie (Miles Caton) creates art so good that it transcends space and time, literal blood suckers show up at the doors asking for a piece. One could hypothesize about the number of studios that knocked on Coogler’s door in the wake of his success, wanting to snap up his talents for projects or creative works he was totally uninterested in, just so the studio could say they were in the Coogler business. Or, as the villainous Remmick (Jack O’Connell) so aptly puts it, “I want your stories.” Coogler’s ideas and storytelling are so valuable that people will kill to get them.
But more so, Coogler telling this particular narrative allows him the freedom he’s not had on prior projects. Sure, there was room within the confines of the Rocky and Marvel machines to put some of himself into the work, but not like this, and not with this Michael B. Jordan performance, which feels like the actor arriving at a leading-man peak. It’s also telling to have a moment where Jordan explicitly talks about having the chance to be together forever. Granted, that’s a loaded conversation within the context of the film, but it serves as a treatise for the creative partnership between the two. It’s a moment that seemingly declares an intention to stick together until the wheels fall off.
“Tell them who you are, where you’re from,” Delroy Lindo’s Delta Slim says before Sammie plays his song around the midpoint. But in many ways, this is just as much about Coogler as it is about Sammie. Here’s a creative force directly reckoning with his own history of having a grandfather he never knew from the Delta and using that as a way to spin up a parable about the power of owning your stories. It’s a fitting conclusion that in the future, this particular story will loop back around and become Coogler’s to own and tell as he sees fit.
After the success of 'Black Panther' and 'Creed', some in the industry wondered why Ryan Coogler's next film, his first completely original story, was a vampire movie. But once you hear how Coogler infused the film with The Blues, Mississippi folklore, and his own family history, you will understand why 'Sinners' is far more than just a vampire story.Watch more interviews with today's top directors:• Toolkit Podcast Read our review of 'Sinners', his 'Best Movie So Far': https://www.indiewire.com/criticism/m...00:00 The films that inspired Ryan to make Sinners.3:18 How did you cram so much movie into this movie?5:10 Ryan's Uncle James & his family history inspiring the story.10:08 Historical Context: The Great Migration, 1930s Mississippi, & The Blues12:16 Designing the barn burner dance scene at the heart of the film.15:36 Making 1930s Mississippi feel like right now.18:31 Why the vampires in 'Sinners' are based in Irish folk culture.19:53 Does 'Sinners' have the best post-credits scene ever?
White folks tend to short-circuit when black folks don't need them.
Glad to see the usual suspects and even more (and more to come!) enjoyed and ridin hard for this one as expected.
Great and on point shit of every kind in this thread already, so it will def be a regular meeting place for a while. I’m mad curious to see how many pages this shit may yet get to BEFORE Monday spoilers fly haha
I do think there will be a little more to say in looking at the cultural moment of GET OUT and this now moment of SINNERS but it’s the cultural MOMENT not the content/quality etc that is want for analysis. Again. Not competition or comparison of any kind in that sense. But consideration.
Great and on point shit of every kind in this thread already, so it will def be a regular meeting place for a while. I’m mad curious to see how many pages this shit may yet get to BEFORE Monday spoilers fly haha
I do think there will be a little more to say in looking at the cultural moment of GET OUT and this now moment of SINNERS but it’s the cultural MOMENT not the content/quality etc that is want for analysis. Again. Not competition or comparison of any kind in that sense. But consideration.
Let the church say Amen
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