Sinners Review: Ryan Coogler Makes the Case for Big, Original Cinema
Why the most Oscar-nominated film of 2026 matters beyond its box office numbers — and what it says about Hollywood (Now streaming on HBO Max)
Sinners just broke the record for most Oscar nominations in a single year. Narratively, it feels like the frontrunner for Best Picture. The Oscars are meant to reward artistic ambition alongside cultural impact, yet they’re often criticized for elevating films that feel admired more than watched. Sinners quietly challenges that reputation. It reminds you that original stories can still connect widely and be profitable, without diluting their artistic intent.
At its core, Sinners is structurally ambitious. It unfolds as a historical drama first, then opens into a musical, and eventually reveals itself as a vampire film. That progression sounds crazy, yet the film stays remarkably controlled. Despite its length, the pacing holds. Scenes breathe without stalling. Each genre shift feels intentional rather than gimmicky.
That confidence carries into the film’s scale. The box office performance was massive, especially given how expensive and unconventional the project is. Ryan Coogler commits fully to spectacle. It’s beautifully shot, Michael B. Jordan is used with care, and this is very much a theatrical experience. It’s the kind of film that asks to be revisited, ideally in IMAX.
Even before watching, I came across a YouTube clip of Coogler enthusiastically breaking down film stock and aspect ratios. That attention to form makes sense once you see the film. Sinners feels designed for cinema, not just for screens. Every formal choice feels thought through.
One creative decision still feels unnecessary. I’ve long suspected that the two brothers were originally meant to be played by Michael B. Jordan and Jonathan Majors, extending their collaboration with Coogler after Creed III. Instead, we get dual Michael B. Jordans. It’s technically impressive and invites Easter-egg hunting, yet it never deepens the story. The identical-twin choice adds cost and complexity without narrative payoff. Even on rewatch, there are moments of confusion about who’s who. The film usually guides you back, but the question remains: what does this actually give us? How does it add to the story?
Where Sinners becomes undeniable is in its sound. The soundtrack and sound design are exceptional. By now, most people have heard about the time-hopping, almost hallucinatory musical sequence. What impressed me was how grounded it felt. Part of me anticipated disorientation, yet my sense of reality never collapsed. It didn’t break the fourth wall. I bought into it completely. It’s one of the most striking musical moments in recent cinema.
With this film, Coogler also asserts his authority as a filmmaker. As if Black Panther wasn’t already a cultural landmark. As if the Creed trilogy hadn’t already proven his ability to refresh a declining IP and make it personal again, even trusting Michael B. Jordan with the director’s chair for the 3rd iteration.
Many directors falter when given full creative freedom after initial success. Ari Aster struggled at the box office with Beau Is Afraid and Eddington. Damien Chazelle’s Babylon failed to connect (after La La Land and Whiplash). Even Tenet remains divisive for Nolan. Coogler avoids that pattern. He clears the bar with ease.
Sinners also expands the vampire genre in a meaningful way. It weaves together belief systems, histories, and traditions into a mythology that feels coherent and expandable. The world feels large enough to hold more stories. Prequels, sequels, side narratives all seem feasible. This film could stand as an IP on its own.
That sense of ownership extends beyond the screen. Coogler negotiated an unprecedented deal that secures creative control and eventual ownership of the film by 2050. It’s a rare assertion of agency in modern Hollywood, and it mirrors the confidence embedded in the film itself.
Sinners is a must-watch. Ambitious, assured, and deeply entertaining. 4.5 out of 5.
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