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Movie News: Ryan Coogler & Michael B. Jordan - SINNERS - jim crow era vampire flick (SPOILERS OPEN!!!)

The movie was entertaining and a good watch. Ahistorical in some parts, but thats expected with a big budget Hollywood film like this one. I give it a 9 out of 10.
 
dawilleyone said:
One more "What If"

What if The Native Americans from the white folk cabin scene came back to help and used their magic combined with the hoodoo woman magic to fend off the "White Vampires" I really was expecting them to come back.
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A part of me was kind of expecting that but when it didn't happen, the resolve in my mind went to the fact that back in those days Native American tribes stayed to themselves unless they were forced to go outside of their norms.

They didn't trust outsiders, for good reason and if they joined forces It was out of protection for their own more so than the protection of others. At least, that's how I glean the situation
 
godofwine said:
A part of me was kind of expecting that but when it didn't happen, the resolve in my mind went to the fact that back in those days Native American tribes stayed to themselves unless they were forced to go outside of their norms.

They didn't trust outsiders, for good reason and if they joined forces It was out of protection for their own more so than the protection of others. At least, that's how I glean the situation
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My brain has been trained to expect that Chekhov's Gun principle in films now. If you intentionally show me something and then go on to other things, I expect that thing you showed me to come back up later in a meaningful way. Without that they was just some token Indians in the film.
 
nawlinsn931 said:
That’s why they didn’t want just red paint because blue paint keeps them away

The Gullah Geechee people have various rituals and beliefs to protect themselves from haints, including the use of haint bluepaint.
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There was a BGOL member, not sure who, but they wrote a Gullah/Geechie Short story for one of our short story contests about 10 years ago or so. It was really good
 
dawilleyone said:
My brain has been trained to expect that Chekhov's Gun principle in films now. If you intentionally show me something and then go on to other things, I expect that thing you showed me to come back up later in a meaningful way. Without that they was just some token Indians in the film.
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The movie was 150 minutes. You can't show how the Indigenous folks hunted, captured, and on the hunt for the vampire again. They saw the sun blink and got the hell out of town. What you wanted them to bust up in the house and save those white people? Do you know what happened to them as a people when they tried and look out for Europeans the last time?
 
dawilleyone said:
My brain has been trained to expect that Chekhov's Gun principle in films now. If you intentionally show me something and then go on to other things, I expect that thing you showed me to come back up later in a meaningful way. Without that they was just some token Indians in the film.
Click to expand...
I know that Stephen King often uses the Chekhov's gun theory, He's also stated that he doesn't believe in backstories because everybody has them.

You can utilize that if you want to in your writing, but it's optional. If you want to add backstory or include a character like the Choctaws in a piece such as this. Maybe it was quasi-historic, or maybe it was just one of the best ways to introduce a character such as Remmick.

The Choctaws Were in pursuit, but it got too dark and they had to get the hell out of there.

I thought it was an interesting character introduction for Remmick, not a pointless usage of token Indians for the film.
 
Non-StopJFK2TAB said:
The movie was 150 minutes. You can't show how the Indigenous folks hunted, captured, and on the hunt for the vampire again. They saw the sun blink and got the hell out of town. What you wanted them to bust up in the house and save those white people? Do you know what happened to them as a people when they tried and look out for Europeans the last time?
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No I would have thought it would have been cool for them to come back and aid the black people in the fight against the white people. You can say that would have never happened, but Chinese people owning a store in the deep south in the 20's and 30's would have never happened either
 
dawilleyone said:
One more "What If"

What if The Native Americans from the white folk cabin scene came back to help and used their magic combined with the hoodoo woman magic to fend off the "White Vampires" I really was expecting them to come back.
Click to expand...
Yeah this is definitely mky "What If" in the entire movie. Would be interesting what resources or tools they were going to use to kill the CAC
 
dawilleyone said:
No I would have thought it would have been cool for them to come back and aid the black people in the fight against the white people. You can say that would have never happened, but Chinese people owning a store in the deep south in the 20's and 30's would have never happened either
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That’s not true
There are a few articles on this
They worked the mines and railroads etc
Now as far as them being that close with us back in the day, yeah might be a stretch
 
Tha Great Muta said:
Going to see it again next week as a double feature with the 20th anniversary of Revenge of the Sith. Niggas only fooling themselves if you don't go see this on the largest screen possible
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Yeah definitely going to go see it again in the next few days on IMAXX. Saw it on 4DX and want to compare the experience of the two.
 
dawilleyone said:
No I would have thought it would have been cool for them to come back and aid the black people in the fight against the white people. You can say that would have never happened, but Chinese people owning a store in the deep south in the 20's and 30's would have never happened either
Click to expand...
The Chinese were brought here to build the railways. After the railways were built, “The North” couldn't pretend to give a fuck about the Chinese, the Asian Indians, the Indigenous people, or Africans. The ending of the movie could've been better. However, I could imagine the FBA/ADOS caucus getting upset that a crew of people of color took down the white folks.
 
godofwine said:
I know that Stephen King often uses the Chekhov's gun theory, He's also stated that he doesn't believe in backstories because everybody has them.

You can utilize that if you want to in your writing, but it's optional. If you want to add backstory or include a character like the Choctaws in a piece such as this. Maybe it was quasi-historic, or maybe it was just one of the best ways to introduce a character such as Remmick.

The Choctaws Were in pursuit, but it got too dark and they had to get the hell out of there.

I thought it was an interesting character introduction for Remmick, not a pointless usage of token Indians for the film.
Click to expand...
Remmick was doing the Icarus to get away from those mothafuckas. Do you know the strength it takes for a vampire to fly in the day? I guarantee you those Indigenous folks had that mothafucka in a basement like the Gimp had Marsellus.
 
Non-StopJFK2TAB said:
The Chinese were brought here to build the railways. After the railways were built, “The North” couldn't pretend to give a fuck about the Chinese, the Asian Indians, the Indigenous people, or Africans. The ending of the movie could've been better. However, I could imagine the FBA/ADOS caucus getting upset that a crew of people of color took down the white folks.
Click to expand...
Ending had BP1 vibes to it
 
Deep in the bayous of the South, a very different type of witch is lurking. The practice of Hoodoo, also known as rootwork or conjure, was brought to America during the slave trade. Unlike voodoo, the spells of these witches are focused on self-preservation and protection. References are particularly present in rhythm and blues, recounted by hoarse-voiced singers with quixotic names. In 1956, Jalacy “Screamin’ Jay” Hawkins launched a thousand covers with the ubiquitous single “I Put a Spell on You.” One such cover artist, Creedence Clearwater Revival, also described “chasin’ down a hoodoo” in their classic rock testament “Born on the Bayou.” There is even a compilation dedicated to the genre, Voodoo Blues: Hoodoo & Magical Practices, featuring the tracks “Black Cat Bone” and “Root Doctor Blues.”

With its whimsical process of improvisation, jazz also lends itself well to witchcraft. Near the end of Bitches Brew, Miles Davis “runs the voodoo down” through a captivating instrumental catharsis. Before that, Wayne Shorter arranged a “Witch Hunt” and Art Blakey orchestrated the wild “Witch Doctor.” Ella Fitzgerald, Bill Evans, and Donald Byrd Sextet each sang about “Witchcraft”—and according to an early biography of Charles Mingus, the musician once employed an instructor of the dark arts.
 

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