Sinners

I’ve been wanting to watch this vampire movie for a while now, but I’ve been putting it off because I’m very particular when it comes to horror movies; I generally find them products for stupid 8-year-olds who want to be jump-scared. Fuck them. If you want a jump-scare, take a turn into one of my working days.

Anyways, I was attracted to Sinners for a couple of reasons. First of all, I’m always attracted to products that take a diverse turn on popular genres, and this idea of a horror story featuring blues and a black community in Mississippi is something I’m not likely to pass up. Secondly, the soundtrack is gorgeous. I listened to it while I was in Venice for the Biennale, over and over again, and it’s a splendid product all across, from the haunting sounds of In Moonlight to the relentless take on Pale, Pale Moon, to the most famous I Lied to You in which a boy is telling his father he lied to him about the blues because he’d heard that the truth hurts. What brought me to the soundtrack, however, was a take on one of my favourite popular songs. Rocky Road to Dublin, which turns into a vampire chorus. It’s glorious.

So, the main idea seems to be intriguing enough, and I’ve been known to describe it as: “it’s Blade with the Irish, meaning that you become Irish when they bite you.”

It’s only partially true.

Sinners is set in 1932 Mississipi and sees the two outlaw brothers Smoke and Stack, both played by Michael B. Jordan, returning to their home town from Chicago: their goal is to reconnect with some local people, maybe mend some fences and open a juke joint, which is an entertainment house exclusively dedicated to the black community, with alcohol, gambling and music. Especially music. For that last part, they recruit their younger cousin Sammie, son of the preacher, who has an astonishing vocal talent and is making the most out of an old guitar they gifted him. Smoke and Stack also come with baggage: Smoke left his wife Annie, a Hoodoo woman, after the untimely death of their newborn daughter, and Stack left Mary, a white-passing woman, because he never thought they could safely be together. So good so far.

Now, the introduction to the character is lengthy. Very lengthy. No music and no vampires. Which is fine, don’t get me wrong: I know plenty of fine movies with neither of them, but it’s a weird balancing if what you’re trying to do is a movie around music with vampires, isn’t it?

Also, part of the appeal to me was that the vampire is Irish (hence the vampire chorus being Rocky Road to Dublin, you see); I was expecting the parallels to be constructed instead of simply implied: a member of a marginalised community is targeting or trying to forcibly ally (which is the same) with another marginalised community. There’s enough to make a fine movie. Heck, there’s more than enough to make a splendid movie.

So is it? Is this a splendid movie?

Nope. I’m afraid it isn’t.

Don’t get me wrong: this wouldn’t be so bad if it was just one out of many mediocre movies with vampires and non-white communities, so I know I shouldn’t place my expectations on the shoulders of a fine product, I tend to do that, but the movie’s structure is out of balance, with much of its plot being dedicated to characters you’d care for with half of their backstory, and no construction of the villain whatsoever, which in turn devoids the plot of its key, terrifying element: if a vampire bites my brother, is that thing still my brother? The answer seems to be no because the question lacks sufficient structural depth.

Watch this movie with low expectations, and you might enjoy it. And then listen to the soundtrack. And, if you need convincing, take a look at the only truly glorious scene in the movie, when little Sammy plays the blues and connects the community across time and space.