---
title: "Sinners"
year: 2025
kind: "film"
canonical: "https://film.one/film/sinners"
fi1m_id: "sinners"
imdb_id: "tt31193180"
tmdb_id: 1233413
wikidata_id: "Q125473145"
fi1m_score: 79
critics_score: 81
critics_reviews: 12
published: "2026-09-09"
updated: "2026-09-18T08:37:51.707757+00:00"
region: "PL"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Sinners (2025)

Directed by Ryan Coogler · 2h 18m · Horror, Action, Thriller

## Identity

Sinners

- **Canonical:** https://film.one/film/sinners
- **Type:** Film
- **Fi1m ID:** sinners
- **IMDb ID:** tt31193180
- **TMDB ID:** 1233413
- **Wikidata ID:** Q125473145
- **Same entity:** https://www.imdb.com/title/tt31193180/, https://www.themoviedb.org/movie/1233413, https://www.wikidata.org/wiki/Q125473145

**Fi1m score: 79** · Critics 81 from 12 reviews

*In a sentence:* The best night out in the Delta, ruined, as most are, by strangers who want to come in and sing

> Ryan Coogler’s vampire film about a juke joint in 1932 Mississippi is at its best before the vampires arrive, and the hour of music that opens it is as good as anything he has made. The siege that follows is well staged and more ordinary.

## Synopsis

Mississippi, 1932. Twin brothers Smoke and Stack (both played by Michael B. Jordan) come home to the Delta with a plan to open a juke joint that same night. They recruit their cousin Sammie (Miles Caton), a blues musician, and Delta Slim (Delroy Lindo), a harmonica player. Cornbread (Omar Benson Miller) takes the door. Annie (Wunmi Mosaku), whom Smoke left behind, and Mary (Hailee Steinfeld), whom Stack did, both turn up. By nightfall the mill is full and the band is playing. Then a stranger called Remmick (Jack O’Connell) arrives outside and asks, politely, to be let in.

## Review

Smoke and Stack, twins played by Michael B. Jordan, come back to the Mississippi Delta in 1932 with money, a truck and a sawmill they intend to turn into a juke joint by that evening. Ryan Coogler, writing and directing, spends his first hour on the getting ready: who will play, who will cook, who will stand on the door, who is still angry about being left. It is the best hour he has directed. After dark, a stranger called Remmick (Jack O’Connell) turns up outside with two friends and a fiddle, and *Sinners* becomes the vampire film its poster promised. That film is good. The one before it was better.

Autumn Durald Arkapaw shoots on large-format film, and the daylight scenes have the depth that only that sort of negative gives you: cotton fields that go back for miles, dust in the air, sweat on skin you feel you could touch. Hannah Beachler’s mill is a real building with a bad roof and a plank floor, and by the time the lamps are lit and the bodies are moving it feels like a place that could hold everyone who has ever wanted to dance on a Saturday. Ruth E. Carter puts the brothers in city suits that are a little too good for the town, and everyone else in cotton that has been washed until it is soft. Nobody looks like they are wearing a costume.

The scene the film will be remembered for comes in the middle. Sammie (Miles Caton) gets up to play, and as the song builds the camera leaves him and travels the mill, and the dance floor starts to fill with people who should not be there, musicians from before and after 1932, until the roof is on fire and nobody has noticed. It runs for several minutes in what plays as a single move. We sat forward, then realised some time later that we had not blinked. Ludwig Göransson’s score does the hard work here, laying electric guitar and drums under a Delta blues song without making it sound like a remix, and the effect is of one music reaching forward and back to shake hands with all the others.

Jordan is fine as both brothers and better as Smoke, the quieter one, who carries a gun he would rather not use and a grief he would rather not name. Delroy Lindo’s Delta Slim has the film’s best speech, delivered from the back of a truck about a man he once knew, and Lindo plays it with the ease of someone who has decided the scene is his. Wunmi Mosaku’s Annie is the one person in the mill who understands what has arrived outside, and Mosaku makes her fear practical rather than theatrical. Caton, in his first film, has a low, unhurried singing voice and a face that does not yet know how to lie, which is exactly what Sammie needs. Hailee Steinfeld has less to do and does it sharply.

O’Connell’s Remmick is the best idea in the second half. He is courteous, he wants to be liked, and he and his friends sing folk songs at the door with real feeling, which is more unsettling than any amount of hissing. He also has a reason for wanting in, and it connects to the film’s argument about who gets to own a music. But once the rules of the siege are set, Coogler follows them. Michael P. Shawver’s cutting, patient all evening, gets busy; people run into the dark and come back changed, and we knew who would and roughly when. We felt the film get smaller. A picture that had been about a whole town became a picture about a doorway, and we had seen that picture before.

Set against Coogler’s own work, this is the first film he has made from nothing but his own script, after *Fruitvale Station*, *Creed* and *Black Panther*, and it is the loosest and most personal of them. It is also, at 138 minutes, the one most in need of a stern friend; there are two speeches in the last half hour that explain what the juke joint scene had already shown us.

See it on the largest screen within reach, and go for the music. The vampires are a reasonable excuse to stay.

*Fi1m score 79, published 9 September 2026.*

## What the critics say

The reviews are uniformly favourable and the spread is narrow: nobody dislikes it, and the argument is only over how much to like it. Praise clusters around Ryan Coogler’s nerve in stacking a 1932 Mississippi period drama, a vampire film and a blues musical into a single night, and around his ability to hold the pile together. Michael B. Jordan’s dual role is singled out repeatedly, as are the juke joint musical sequences, Ludwig Göransson’s score and the 70mm photography, with several critics also noting Miles Caton’s debut.

The reservations are consistent too. Most critics find the film overstuffed, and a few think the change of gear into pulpy horror costs it something: Time Out calls the shift jarring, NME finds the final act stop-start, Vulture argues it never quite works as horror, and the Financial Times, the coolest of the group at three stars, reads the genre collision as a loss of nerve rather than a show of it.

## Straight answers

**Is Sinners worth watching?**

*Sinners* is worth watching, and we scored it 79; the hour of music that opens it is as good as anything Ryan Coogler has made. The vampire siege that follows is well staged but more ordinary, and at 138 minutes it could lose two late speeches. Go for the blues and the large-format photography rather than the horror.

**How long is Sinners, and what is it rated?**

*Sinners* runs 2h 18m. It is a horror and action film.

**Where can I watch Sinners in Poland?**

*Sinners* is streaming on Netflix in Poland, and it is also available to rent from Amazon Prime Video from zł 17.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Sinners, and is it suitable for children?**

*Sinners* is a 15 certificate in the UK and R-rated in the US, so it is not for children. The vampires arrive after the first hour, and the siege that follows has people running into the dark and coming back changed; the most unsettling scene is strangers singing folk songs politely at a door. Teenagers of fifteen and up who can take a vampire film will be fine.

**How does Sinners compare to From Dusk Till Dawn?**

*Sinners* and [*From Dusk Till Dawn*](https://film.one/film/from-dusk-till-dawn) both open as one genre and let the vampires in at half-time, and in each case the first half is the better one. Coogler's film is the richer and more personal, built around music and a whole town rather than a hostage-taking, while Rodriguez's is grubbier and more inventive in its violence. Choose *Sinners* for the blues, the earlier film for the gore.

**What should I watch after Sinners?**

After *Sinners*, try [*From Dusk Till Dawn*](https://film.one/film/from-dusk-till-dawn) (1996, Fi1m 75): Another film that opens as one genre and lets the vampires in at half-time. Then [*Near Dark*](https://film.one/film/near-dark) (1987, Fi1m 82): Vampires as a travelling family in the American nowhere, with a bar scene to match; and [*Let the Right One In*](https://film.one/film/let-the-right-one-in) (2008, Fi1m 88): Swedish, snowbound and quiet, and equally clear that the monster must be invited.

### Reviews we read (18)

- **The New York Times**, Manohla Dargis (90/100, inferred): The critic calls it a genre-defying, mind-bending fantasia overflowing with great performances, dancing vampires, and ideas about love and history. She singles out the blues musician's role as a time traveler connecting generations. [Read](https://www.nytimes.com/2025/04/17/movies/sinners-review-ryan-coogler.html)
- **The Independent**, Clarisse Loughrey (4/5): The critic praises the film's inventive fusion of historical epic, horror and action as a bold original idea in a sickly cinema landscape. They single out the electric genre-mashing and strong supporting cast for praise. [Read](https://independent.co.uk/arts-entertainment/films/reviews/sinners-movie-2025-michael-b-jordan-cast-ryan-coogler-b2730833.html)
- **The i Paper**, Christina Newland (80/100, inferred): The critic calls it one of the most satisfying and fun blockbusters of the year, praising its blend of supernatural horror with political and historical themes. They single out the evocative atmosphere, strong performances and genre-bending story. [Read](https://inews.co.uk/culture/film/sinners-best-blockbuster-this-year-3640736)
- **Time Out**, Elizabeth Weitzman (4/5): The critic finds Coogler's film an audacious epic packing multiple genres into one day in 1932 Mississippi, with stunning settings, stirring music and electric party scenes. The shift to pulpy vampire horror feels somewhat jarring and cumbersome after the rich world-building. [Read](https://www.timeout.com/movies/sinners-review-2025)
- **Empire**, Helen O’Hara (75/100, inferred): The critic describes it as a wildly original, defiantly weird and gorgeously made film that twists the vampire myth into something thematically dense. They single out the world-building, performances and idiosyncratic take on colonialist vampires. [Read](https://www.empireonline.com/movies/reviews/sinners/)
- **Screen Daily** (75/100, inferred): The critic describes an ambitious melding of pop spectacle and serious intent that has much to say about race and class divisions, with expertly staged fright sequences. The picture is overstuffed at times but consistently engaging thanks to its pulpy action and thematic points. [Read](https://www.screendaily.com/reviews/sinners-review-ryan-coogler-michael-b-jordan-draw-blood-in-period-vampire-thriller/5203822.article)
- **Variety**, Owen Gleiberman (75/100, inferred): It is a vibrant, richly acted portrait of a 1930s Deep South community that works more than it does not as a lavishly serious popcorn movie about the wages of sin in Black America. The critic singles out Michael B. Jordan's subtle dual performance and the community scenes for praise while noting it can feel overloaded. [Read](https://variety.com/2025/film/reviews/sinners-review-michael-b-jordan-ryan-coogler-1236363344/)
- **Financial Times**, Danny Leigh (★★★☆☆): Ryan Coogler follows his Black Panther success with an audacious genre mash-up of period gangster/vampire movie with musical flourishes. Amid the audacity of genres colliding as fangs find necks, it feels like a loss of nerve. [Read](https://www.ft.com/content/92162bcf-1880-4f91-b43f-5edb710c6125)
- **Radio Times** (★★★★☆): The critic calls it a sweltering, swaggering studio movie that is relentlessly entertaining while giving audiences plenty to chew on. It is described as a messy, muscular mash-up of historical drama, horror and action that delivers a righteous, rollicking good time. [Read](https://www.radiotimes.com/app/sinners-review-a-sweltering-swaggering-film-with-plenty-to-chew-on/)
- **The Guardian**: Ryan Coogler’s film is a wild, untrammelled and thrillingly unpredictable sexy southern gothic horror and blues-infused vampire flick. Coogler’s assurance and vision holds the messy story threads together, with phenomenal 70mm visuals and a hot-headed, dangerous soundtrack. [Read](https://www.theguardian.com/film/2025/apr/19/sinners-review-ryan-coogler-sexy-southern-gothic-horror-michael-b-jordan)
- **The Hollywood Reporter**, David Rooney: The critic praises Coogler's ambitious, genre-blending horror film with strong performances, visuals, and music, calling it a unique experience that works despite its mix of elements. Praises the sensuality, cinematography, and music. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/sinners-review-michael-b-jordan-ryan-coogler-horror-1236186742/)
- **Vulture**: The critic finds the film bold and ambitious with deep reverence for the Black South and strong characters, but it misses greatness due to overambition, misshapen story, and failure as visceral horror. Praises the sensuality and celebration of the South. [Read](https://www.vulture.com/article/sinners-movie-review-bold-ambitious-just-misses-greatness.html)
- **Consequence** (A-): Coogler remixes classic vampire tropes with fresh musical flair, group consciousness, and cultural commentary centered on spirituality and traditions. The result is a thrilling, fun, and scary roller-coaster ride that confirms his talent for reinventing genres in an original story. [Read](https://consequence.net/2025/04/sinners-review-ryan-coogler/)
- **Polygon**, Siddhant Adlakha (90/100, inferred): The film is a heady, complicated movie with Jordan Peele-level ambition and subtext that holds together despite its abundance of tones and influences. It stands as a major swing for big-budget genre cinema and a deeply personal work, with strengths far outweighing its flaws. [Read](https://polygon.com/horror/556489/sinners-review-ryan-coogler-vampire-black-panther)
- **The Ringer**, Lex Pryor (85/100, inferred): Sinners is a bluesy Southern gothic nestled in late-night vampire pulp that serves as a love letter to both a form and a subject, devoted to building on its inspirations while keeping things funky, freaky, and entertaining. It is a stunning, entrancing, spooky work with rough edges but immense cultural resonance. [Read](https://www.theringer.com/2025/04/29/movies/sinners-review-blues-music-ryan-coogler-studio-deal)
- **Den of Geek**, David Crow (80/100, inferred): The critic views the film as a profound American tragedy exploring cultural appropriation, racial oppression, and the blues' roots through vampire mythology and historical context. It singles out the juke joint musical sequences and the reclamation of Black humanity and heritage for praise. [Read](https://www.denofgeek.com/movies/sinners-ryan-coogler-devils-bargain-of-america/)
- **NME**, James Mottram (4/5): The critic praises Coogler's imaginative blend of blues, horror, and period drama, highlighting the standout musical sequences and Ludwig Göransson's score as the film's strongest elements. The final act is noted as uneven and stop-start, failing to fully integrate its disparate parts. [Read](https://www.nme.com/reviews/film-reviews/sinners-review-ryan-coogler-michael-b-jordan-horror-3855510)
- **Deadline**, Pete Hammond: The critic calls it a devilishly entertaining period vampire movie/blues musical/Deep South gangster flick that marches to its own drum. He singles out Coogler's exceptional original filmmaking, the technically and performatively strong dual role for Jordan, the knockout musical score incorporating the African blues songbook, and standout turns from the ensemble cast including Miles Caton's sensational debut. [Read](https://deadline.com/2025/04/sinners-review-ryan-coogler-michael-b-jordan-vampire-movie-1236365142/)

## Details

- **Director:** Ryan Coogler
- **Director:** Ryan Coogler
- **Writer:** Ryan Coogler
- **Cinematography:** Autumn Durald
- **Editor:** Michael P. Shawver
- **Music:** Ludwig Göransson
- **Production design:** Hannah Beachler
- **Costume design:** Ruth E. Carter
- **Producer:** Ryan Coogler, Zinzi Coogler, Sev Ohanian
- **Cast:** Michael B. Jordan as Smoke / Stack; Hailee Steinfeld as Mary; Miles Caton as Sammie Moore; Jack O'Connell as Remmick; Wunmi Mosaku as Annie; Jayme Lawson as Pearline; Omar Benson Miller as Cornbread; Delroy Lindo as Delta Slim
- **Runtime:** 2h 18m
- **Release (Poland):** 18 April 2025
- **Genres:** Horror, Action, Thriller
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2025); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2025); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 2025); [Films where the soundtrack is the real star](https://film.one/collections/soundtrack-is-the-star.md)
- **Budget:** $100 million
- **Box office:** $371 million
- **Trailer:** https://www.youtube.com/watch?v=l2h2lC0vlX4

## Where to watch in Poland

- Netflix: streaming
- Amazon Prime Video: rent zł 17.99, uhd
- Amazon Prime Video: buy zł 39.99, uhd

*Checked 2026-09-10.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IN, IT, JP, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, US. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2026: Best Actor (won); Best Cinematography (won); Best Original Score (won); Best Writing, Original Screenplay (won)
- Black Reel Award for Best Film 2026: Black Reel Award for Best Film (won)
- Black Reel Award for Best Screenplay, Adapted or Original 2026: Black Reel Award for Best Screenplay, Adapted or Original (won)
- Black Reel Award for Outstanding Ensemble 2026: Black Reel Award for Outstanding Ensemble (won)
- FIPRESCI Grand Prix 2025: FIPRESCI Grand Prix (nominated)

## If you liked this

- *From Dusk Till Dawn* (1996), Fi1m 75: Another film that opens as one genre and lets the vampires in at half-time. — [Fi1m page](https://film.one/film/from-dusk-till-dawn.md)
- *Near Dark* (1987), Fi1m 82: Vampires as a travelling family in the American nowhere, with a bar scene to match. — [Fi1m page](https://film.one/film/near-dark.md)
- *Ganja & Hess* (1973): A black American vampire film about hunger, faith and inheritance, stranger than anything since.
- *Eve's Bayou* (1997): Louisiana, family secrets, hoodoo and heat, without a single fang.
- *Let the Right One In* (2008), Fi1m 88: Swedish, snowbound and quiet, and equally clear that the monster must be invited. — [Fi1m page](https://film.one/film/let-the-right-one-in.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/sinners