This year’s Oscar season has a title: “Sinners.”
In “Sinners,” writer-director Ryan Coogler steps into a genre that the Academy has often overlooked, reshaping it in a remarkable way. This slow-burn psychological horror film is more than just a shift for Coogler; it’s a statement.
Over the last decade, Coogler has been a transformative figure in Hollywood, especially for the Black community, likened to Christopher Nolan. From depicting Oscar Grant’s last moments in “Fruitvale Station” to resurrecting the “Rocky” franchise with “Creed” and breaking cultural barriers with “Black Panther,” Coogler uniquely blends personal narratives with broader societal themes.
“Sinners” has emerged as both a box-office success and a critical favorite, promising to redefine Coogler’s career and challenge the Academy’s rigid view of horror. If justice prevails, he might gain a spot on the short list of Black directors nominated for best director—a list that includes the likes of John Singleton and Spike Lee, but remains painfully small.
The horror genre has traditionally been sidelined by the Academy, often deemed too loud or too unsettling. Classics like “Psycho” and “Rosemary’s Baby” faced neglect, while only a handful of films like “The Silence of the Lambs” and “Get Out” managed to break through. In a post-“Substance” era, where even body horror receives multiple nominations, “Sinners” feels like a significant moment rather than just a risk.
Michael B. Jordan, Coogler’s frequent collaborator, gives a striking dual performance as twin brothers Smoke and Stack, showcasing his range and demanding Oscar consideration. Additionally, newcomer Miles Caton captivates as Sammie “Preacher Boy” Moore, echoing the magnetic presence of stars like Daniel Kaluuya. Delroy Lindo adds depth with his powerful portrayal of Slim, following his overlooked performance in “Da 5 Bloods.” The ensemble cast, including Jack O’Connell and Hailee Steinfeld, is compelling enough to warrant recognition from the SAG Awards and the newly introduced best casting Oscar.
“Sinners” reminds us that cinematic excellence transcends the calendar, as exemplified by the success of early-year releases like “Dune: Part Two.” Coogler’s creative team, including production designer Hannah Beachler and composer Ludwig Göransson, reunites to create unprecedented quality. The film’s stunning visuals, along with Autumn Durald Arkapaw’s innovative cinematography, may pave the way for a female victor in this category, a rarity in history.
What “Sinners” achieves is profound; it approaches horror with emotional depth rather than mere shock. It challenges the audience to engage with their feelings, intertwining survival and memory through a narrative that is both political and deeply personal. For Coogler, the Oscars are not the ultimate goal but a potential recognition of thought-provoking storytelling. “Sinners” invites reflection, solidifying its place as a benchmark for this year’s film assessments.
Ryan Coogler has continually evolved; there’s no indication he will pause now.
