Sinners: The Supernatural Power of Music in Coogler’s Horror
30th May 2025
By Yasmin Abubeker
If you’ve grown up in a religious family or around religious people, you’ve likely heard that music is the devil's work - or you may have experienced music as a form of worship. That thin veil between sacred and sacrilegious is explored with bold imagination in Sinners, Ryan Coogler’s genre-bending film that merges Southern Gothic, Black history and supernatural horror into a thought-provoking reflection on the power of music.
The film follows twins, Smoke and Stack (both played by Michael B. Jordan) newly returned from Chicago back to their hometown in the Mississippi Delta. With a mysterious influx of cash, the first half of the film follows the twins as they set up a juke joint for the night. Once reconnected with his estranged lover, Smoke brings Annie (Wunmi Mosaku) to cook the food whilst Stack recruits Preacher’s son, Sammie (Miles Caton) to sing and old acquaintance, Delta Slim (Delroy Lindo) to play piano. As the characters, and audience, are taken on a journey of music and romance, this utopia is quickly shattered by the introduction of vampire Remmick (Jack O’Connell) who sees to the slow murder and transition of partygoers.
Admittedly I have not been completely sold by Jordan’s talents in the past but I am a full believer following his phenomenal portrayal of both twins in their distinct personalities and natural dynamic. Yet most impressive was Caton in his stunning acting debut, instilling a fragile innocence that wildly contrasted his deep singing voice - one that seemed to carry the weight of great trauma and heartbreak.
In one of the most poignant scenes of the film, Delta Slim sits with Smoke and Sammie in the car as he retells the story of an old band member that was robbed and lynched. Delroy’s performance as a whole was completely captivating but particularly so in this scene. As the sounds of this memory play over his monologue, Slim lets out a visceral grunt indicative of his pain which quickly transitions into him humming a tune to bear with the grief. This prompts Sammie to play the guitar and sing alongside him, then before you know it - the blues. This deeply touching and seamless scene was able to beautifully portray not only how blues was born out of trauma but how music is used to heal.
Music is a spiritual vessel and Ludwig Goransson’s score proves this, whether it’s the electric guitar evocative of 70s rock, blues from the acoustic guitar or beating drums that echo jumping, dancing feet. This theme is brought to the fore in a daring, extended sequence where Sammie performs the song ‘I Lied to You’ and the juke joint transforms into a haven for freedom and expression. Sammie’s music lifts the partygoers into a trancelike state, summoning spirits that transcend time - dancers from the future such as cripwalkers, breakdancers and twerkers, along with dancers from the past including Zaouli and others from various tribes within Africa. Coogler’s ambitious scene successfully portrays the inexplicable and supernatural power of music, known amongst all its lovers and players. More than that, the sequence celebrates the black origins of music and affirms the pivotal role it has played and continues to play in black culture. Music is not just for mere enjoyment - it is protest, history, freedom, joy, hurt, respite, healing, love and worship.
With all its commentary on music, race and historic retelling of Jim Crow, this is not a film to take entirely seriously. In fact, the ways in which Coogler intertwines humour, camp and horror may divide people. Excessive bright red blood, metal rock music behind intense fight scenes and a final shootout reminiscent of Tarantino might not be for everyone. Smoke’s hallucinations of Annie and his deceased child in the afterlife reduced what was a fabulous shootout to an embarrassing attempt at melodrama. Although, I did appreciate the irony of Smoke’s vision being interrupted by a KKK member asking if he wanted money in return for mercy.
Tinged with tackiness and bold humour but grounded with some truly memorable scenes, Sinners may make you laugh, jump or even cringe but it will definitely stay with you.