Sinners (2025) Movie REACTION | First Time Watching | Movie Review | Michael B. Jordan

This movie is like from dusk till dawn for black people.

Such a good movie

haile steinfeld need to watch that mouth had me doing double takes the whole movie 😂😭

smhhhh ppl vampires!!! they csan fly/hover, they BURN in the SUN JESUS smh ppl slow

I'd rather side with the vampires. They're much cooler to be around anyway.

The vampire first scene is Burn by the sun light

Mouth spitting is basically vanilla shit by modern standards of kinky tbh

Lost Boys was my first introduction to being “invited in” first.

Excellent react to an amazing film. Ryan Coogler is elite at using his gift of conveying cinematic storytelling .

🔥🔥🔥

Lol ok slim this isn't sex stories 😂😂😂
Funny!

This movie is just black dusk til dawn

I love you guys reactions!!

boring movie

As always this was another awesome reaction my dudes!
I was lucky enough to go in to the theater almost completely blind (somehow) like all I knew was Michael B Jordan was in it and it was a period piece from like the 20’s or 30’s and it was absolutely freaking amazing when it went supernatural (well the beginning teased it but vampires ffs!? I did not expect that shit tho😅) it’s a damn MASTERPIECE of filmmaking and music honestly left me absolutely speechless and so much so that I was one of the roughly 8 people who got to see that super late end credit scene because I was just so in awe of the damn movie that I just sat there talking about it with my daughter and her boyfriend for the entire time from the end to that end credit ffs😂😉👌

Saw a short the other day that showed the actors of Remmick and Slim doing an interview and Remmick's actor grew up singing and dancing both the song and the Irish dance that are in the film 🥰

I joked that I needed an intervention because of the many times I've watched reactors watching Sinners and she called me a vampire.

I feed off reactors emotions.....bruh

Sinners is in my opinion more than just a vampire movie or horror the guy put everything in. Sinners is steeped in gangster movies, westerns, musicals, blacksploitation and vampire movies, displaying the influences of a young director who grew up with From Dusk Till Dawn and The Faculty but also the legacy of an entire black American culture. In fact, it's a bit like his Sucker Punch. But better digested and with a socio-political message. Whatever one thinks of the film, it's admirable to see such ambition. Ryan Coogler has said he made this film as a love letter to his late uncle, who constantly listened to the blues of his childhood in Jim Crow-era Mississippi while drinking Old Taylor whiskey. After his death in 2015, while Ryan Coogler was shooting Creed, he played his uncle's records to connect with him, almost like a séance. This is where the idea for the film came from. And the best part is that Ryan enlisted the legendary Buddy Guy, the greatest and most influential blues musician of the last century, to play the older Sammy.

The film oozes from every pore, shot on a film stock that gives it its texture, tangible, almost heat-inducing and olfactory. For nearly half of its 2 hours and 17 minutes, virtually nothing happens. The story focuses exclusively on recruiting the various people the twins (Michael B. Jordan, who has fun in this dual role) want for the opening of their club. It's not a playful heist movie; rather, it's a portrait of a community and an era, from plantations to churches, from blues musicians to Asian grocers, and it's just as engaging. The sense of place is infectious. Coogler alternates between 65mm Ultravision and 70mm IMAX, two formats at extreme opposites, switching from a 2.76 panoramic to a 1.43 vertical to better showcase the endless fields and incredible vistas bathed in the magic hour. Despite a bit of swagger, it's also, from the start, a film that sweats. Whether in the lines or the actions, the film assumes a carnal dimension even before the first bloodsucker pokes his fangs. As its title suggests, Sinners is a reflection on our sinful nature, and the relationship with the body runs through the film, whether we dance, fuck, play guitar or gun, drool, bleed (and always with stage effects), engaging in a dialogue with its spiritual dimension, with music seen as both a call to the Devil and a tool for potential ascension. In this respect, the film's two most impressive sequences are musical. In the first, the image opens to fill the entire screen and a single shot crosses a dance floor, transcending past and present, while the second sees a troupe suddenly come alive with an improbable chant, both stimulating in form and terrifying in substance. Two absolutely insane scenes of pure trance.

This is where you understand how the genre (and IMAX) interests Coogler more as a vehicle for his message than for spectacle, the confrontations with the vampires remaining relatively summary. The most narrow-minded will undoubtedly have as an instinctive reaction "oh yes, okay, all the bad guys are white, that's low ceiling", betraying their own lack of common sense, while the figure of the vampire is not so much there to represent "the Whites" but the seduction and the dangers of assimilation. This is where the choice of structure takes on its full meaning, having given pride of place to the assembly of a community around a culture only to find it threatened in this second half, risking being erased by the conformism sold to immigrants. The chief vampire isn't Irish for nothing, and his speech about the comforting aspect of the religion once imposed on him is just as eloquent as the jig he intoxicates his new converts with.

Coogler pokes fun at the precarious symbiotic relationship between Irish/Italian immigrants and freed Black people, when they weren't yet considered white. I immediately understood when Remmick felt so comfortable with them that he dropped his Southern accent and his Irish one emerged. When he takes refuge with the white farm couple and sees the Klan outfit in their house, he adopts a Southern accent and offers them gold. When the Choctaw gentleman says to the woman, "Don't let him in,He is not what he seems." It made me think of how the First Nations welcomed the settlers, thinking they might be friends, but they weren't what they seemed. They were violent and deceitful. The three buzzards that accompanied them and that landed on the house where Remmick kills the Klan couple before transforming them are so symbolic. Those same vultures landed on the roof of the Juke Joint before the party even began. Fun Fact: In the real world, the Choctaws and the Republic of Ireland share a true bond of brotherhood. During the Great Irish Famine, the Choctaws, despite the repression they suffered from the settlers, sent them food, and the Republic of Ireland also helped them, especially recently in 2021 during Covid-19.

Personally, the scenes that struck me were the ones where Slim explains to Stack and Preacher Boy how one of his bandmates was lynched by the Ku Klux Klan because of the money he had earned. He is so moved when he tells this that he starts humming. This scene showed me Coogler's understanding of the blues. A genre born from the trauma of slavery and Jim Crow, indescribable. And the long take that spans time gave me chills; it was so powerful, as did the Irish song scene, truly for me the two best scenes in the film, which convey clear meaning without any dialogue, and I applaud that!

If you guys noticed in the beginning of the movie they asked “why are the floors clean?” “Yall mopped?” It wasn’t for sanitation purposes. The floors were TOO CLEAN for an “old abandoned mill”. And it’s bc the klan cleaned the blood off the floor so they can resell the mill again to another unknowing black family. This wasn’t their first time. And I think what gets me is no one will ever know how many times this was conducted and undocumented and how many places this might have occurred. As historically tied as everything is, I don’t doubt that this has happened. Imagine going through it with no Stack, no smoke, mojo bag, or trunk.

We can also see a subtext about the sirens of studios eager to suck up and format young artists, the singer protagonist being likely an alter ego of Coogler himself. Behind the trappings of genres, behind the Tommy Guns and the wooden stakes, Sinners is a celebration of cultures, those that resemble and blend together (see the introductory narration), and the testimony of an artist worried about his soul.

Fun fact, Remmick mentioned that when he was a boy, the man who stole his fathers land forced Christianity on him, but he still found the words to be comforting. This means the vampire has been around since somewhere around the 5th Century AD, when Christianity was introduced to Ireland. So that vampire had 1500 years of history in his head, from the thousands of people he'd turned over the years, no wonder he was crazy.

Many people are surprised by Slim's reaction when he drinks the beer, but they forget or don't take the context into account. It was Slim's first time drinking beer. It's easy to find today, but during Prohibition, and in the Delta, it wasn't. Alcohol was illegal back then. So Irish beer was a luxury. Most people just drank homemade hooch and moonshine made from fermented fruits and vegetables. The same kind of hooch they still make in prison today. Slim drinks corn liquor because that's all you can find in the South.

The twins' nicknames, Smoke and Stak, are inspired by the song of the same name, Smokestack Lightning, by the bluesman Howlin' Wolf. The fact that one dressed like an Irish gangster and the other like an Italian gangster, shows without saying who had connections to which gang when they were in Chicago.

Finally I have a theory that Annie knows what will happen to the majority of people in Juke Joint including herself, in fact we see her throwing dice as if to see the future and each time they fall back in the same positions as if to signify that what will happen cannot be changed and then she goes to see Smoke to ask him to kill her if she turns into a vampire. that's why she says "not you" when Stack transformed me because she knew that it was going to happen but not that it would be the twin brother of the man she loves who would bite her.

Some people wonder why Stack and Mary were so upset when Smoke released Annie. Stack said “I had it all planned out”. Stack and Mary were turned. He didn’t want to do this side of life without his brother, and knew his brother would submit if Annie had turned if it meant he could be with them forever regardless of the circumstances.

When he released Annie before turning, there as no need in sticking around so they ran off.

I really just want to know what lipstick this client is wearing!! 😂

Seen this masterpiece 4 times already 🔥

I watched no trailers or reviews. My son said watch it. I said I’m there

Over hyped .6/10

YES!!!!! That scene was “THE ROOF THE ROOF IS ON FIRE….”

Stack avoided Mary in public because he feared for her safety. Publicly interacting with her at the train station was dangerous and could put both of them at risk. The risk of a potential racist backlash if white individuals saw them together. Given the historical context and racial tensions depicted in the movie, Stack's anxiety about Mary being seen in public with him likely reflected the danger of their relationship being discovered.
That music scene featuring Sammy transporting everyone across time was phenomenal. The best part was the blend of different cultures and music styles, like the Chinese dance and music, especially when Bo and Grace started dancing. When Remmick started singing and dancing, I immediately understood the parallels between his culture and our culture back then. The Irish Jig dance scene was really scary and cool as hell at the same time.

Mary was visibly upset that Smoke killed Annie and didn't let her turn like he promised. Mary and Stack wanted to create a new family with Smoke and Annie. Mary couldn't be family with them because she was passing as white. Mary and Stack believed that turning Annie into a vampire was fellowship, and Stack mentioned to Smoke when they were fighting that they had worked it out to be a family as vampires.

The older version of Sammie is Buddy Guy, a blues guitarist and singer. He's originally from Louisiana, but has been very influential in the Chicago Blues scene. He's influenced other guitarists such as Eric Clapton, Jimmy Page, Jeff Beck, Gary Clark Jr., and John Mayer.
I don’t think it was a coincidence that 60 years later, Stack and Mary visited Sammy in Chicago on October 16, 1992, and the original Candyman movie came out on October 16, 1992, and it’s set in Chicago.

Blood-sucking demons have haunted human imagination since ancient times. In Western vampire mythology, one chilling rule stands out: the vampire must be invited in. If not, it suffers—a concept powerfully depicted in the Swedish film Let the Right One In and its American remake Let Me In.

But the terror behind this rule goes deeper than tradition. A monster breaking down your door is scary—but expected. The true horror is the evil we welcome ourselves. It’s the unsuspecting figure we let inside—charming, soft-spoken, with a warm smile or striking colored eyes—never knowing what darkness hides beneath the surface. That’s what makes nightmares.

First thing I thought when Nikki watched Smoke hold the baby: "BABY FEET!"

Man the Will You Go Lassie, Go? and Rocky Road To Dublin scenes really did it for me; not only was the music amazing but I would absolutely have been seduced by the vampires if I was there and heard them singing lol

"first time watching" No shit.

The one thing that I realized when I finish the sinners movie, I don’t think anybody else realized it, but the Irish vampire the oldest one you can tell how old he is just because of the money that he carries they’re not just regular gold coins. They’re gold da blooms which were in the pirate ages. He might be older than that but all I can say is he’s from the pirate ages, which is a really cool detail.😁👍

I can't say how much I appreciate this reaction ❤from Louisiana

*Smoke: sorry i couldn't keep you safe
Stack: don't be sorry, you always did*

TEARS TEARS TEARS

I like that every symbolic moment or temptation goes over both your heads

Y'all were immediately protective of Sammie. ;_; Real freaking sweet. Was easy to forget how young he was.
The kid may have a mature, highly talented voice--but he was only 20, and went through SOMETHING ELSE!

Real life Blues OG Buddy Guy cameos as old Sammie at the end. A legend- and one of the last standing in his genre.

I saw it in IMAX, and this has to be my 8th reaction! I love it!

Sammy saw that Remmick and his Daddy said the same things. One wanted to use his music, and the other wanted him to give up his music. Sammy just wanted to be free to do what he wanted.

this movie is easily in my top 5 such a great piece of cinematography

The irony of ironies is how music unites and brings disparate groups of people together—even the wrong "people."

I'm going to say Remick was probably around 300 years old, not over 1000 like some people have postulated. He's angry about the English conquests, which could be referring to the 1100s or the Cromwellian conquest in the 1600s, and it's more likely to be the latter. Catholicism had originally spread to Ireland by missionary work, not by force; St. Patrick is still famous of course for his work there. Remick would've known the Lord's Prayer in Latin or Irish Gaelic before the English Protestants forced their way into Ireland with their English version of the Lord's Prayer. It fits much better thematically for him to have struggled due to these events rather than him having been an over 1000 year old Pagan vampire.