Alex Reviews "Sinners"

In 1932, a year before the end of prohibition in the now ghost town of Clarksville, Mississippi, the Smoke/Stack twins have returned home from working for notorious gangster, Al Capone, flushed with cash and alcohol. Their intentions of building a new life filled with music and dancing are interrupted by a myriad of malevolent forces intent on their own plans for the brothers.

The super team behind Black Panther are back with what may be their best effort yet in Sinners! The visuals, the performances from the entire cast, and the music are all at an award level. Yes, I’m telling you up front that Sinners will be among the best films of 2025. If that is enough for you, go get your tickets in a premium format NOW! If you want the why, read on.

The visuals are the first piece you will notice while watching Sinners. The entire film is shot in gorgeous 70mm. While this would be enough to showcase the grandeur of the picture, Ryan Coogler and Autumn Durald Arkapaw (Emmy nominated DP for Loki) executed what may be the most ambitious cinematography ever done by using IMAX and Ultra Panavision aspect ratios as a device for narrative. In brief, these have never been blended before in a single feature. The height of IMAX provides an almost intimidating scale while the Ultra Panavision showcases the largest width possible for grand range. Both extremes work in harmony to engage with the audience on every change or keep them uneasy in tense moments. If Arkapaw is not nominated for EVERY award possible, those shows will lose their credibility with me.

Within the stunning visuals, there is not a single miss in performance from the entire cast. Michael B. Jordan not only continues to be a tidal wave of talent but does so in dual roles that demand full delivery. Other actors have taken on this challenge and either fail to make the characters feel connected or end up seeming redundant. Jordan balances a plane-sized undertaking on a pin. Making the twins similar in the ways that would be demanded by siblings who have faced the horrors of the Old South and war while fully demonstrating a chasm between their unique personalities.

Delroy Lindo (Da 5 Bloods) delivers what may be the best performance of his legendary career. Simultaneously providing hilarious comic-relief and an ominous voice of experience to the stakes of the time’s hardships, inequality, and horror facing the cast.

The most surprising showing, though, comes from Jack O’Connell (Unbroken). Please allow me to clarify that the surprise is not talent-related, but the fact that a film with so many great performances could unfairly lose one that is as good as any but with less screen time. O’Connell is everything from charming to undeniably captivating and horrifying with every second he appears. The man both frightened me, made me root for the villain, and made me cry genuine tears all within Sinners. Similar to my feelings for the cinematography, O’Connell NEEDS to be considered for his supporting role as Remmick.

With everything said already, this is a great picture, but that is only half of the experience. Ludwig Göransson, fresh off his Oscar for Oppenheimer, takes the importance of music in Ryan Coogler’s script and launches it into the stratosphere. It may be old hat to say that the music becomes a character on its own, but the music literally takes on life in Sinners. I have never paid for a soundtrack faster in my life. For scope, this was a purchase before I stood up from my seat.

A quick aside: do NOT leave before the credits are done completely.

I will admit that the picture almost lost me at one point near the middle, but I assure you that Ryan Coogler knew exactly what he was doing with that scene and it plays perfectly in the story before (and during) the credits.

Sinners is not only my favorite picture of 2025 so far, but one of my favorite theater experiences of this decade. On April 18th, watch it in IMAX for the visuals. Watch it in Dolby for the music. Then go see it again. Sinners is THAT GOOD!