‘Sinners’ on pace to become a must-watch phenomenon

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As a vampire horror and adventure movie embedded with hoodoo, Blues music, and other Black infused themes, “Sinners”’s momentum is still going strong. The new film, directed by Ryan Coogler, has made over $235 million worldwide since opening April 18. Described as a cinematic experience, the box office smash is becoming a phenomenon with its audiences. The themes and meanings about the film are layered — Coogler has defined it as a “full meal.”

Easter weekend 2025 seemed to be a perfect time to expand the Black horror Renaissance. “Sinners”, led Harlem native TJ Dean into a possible spiritual connection, from the film’s Christianity and Black Church themes to its Easter weekend opening. Black horror expansion allows Black directors, actors, and writers the opportunity to explore stories beyond stereotypes.

“Sinners” provides movie-goers with memorable scenes that capture the attention of many. Enjoying the film for a second time, Dean believes this project is Michael B. Jordan’s best role next to “Black Panther.” He applauded Coogler’s vision, particularly incorporating music from different generations into the movie. The panorama scene spiritually and musically blended the past and present into a climactic moment. Also of note: that scene bears a strong semblence to the 1976 painting, “The Sugar Shack,” by Ernie Barnes.

A focal point of the movie was the juke joint musical sequence, starring “Preacher boy” Sammie’s song “I Lied to You.” That dreamily surreal scene explored Black music ancestrally, from African tribal drummers, through eras where rock and electric guitar were supreme, up to hip-hop periods. “I think [Coogler] did an amazing job of bringing all cultures and backgrounds of different Black music from the 1930s, while translating back to Africa and back here, now — and adding an electric guitar,” said Dean. “[Coogler] showed the basis of where we came from as a culture from then to now.” Dean’s movie date, Kiara Browne, also enjoyed the music scene.

“I was not expecting to see a girl up there twerking to this type of [Blues] music,” said Browne. She believes “Sinners” is becoming a phenomenon, mainly after observing many people and social media users contributing to the growing and ongoing discussion of the film. “I do think this movie is doing something to get people back to seeing movies [in theaters],” said Browne. According to Fandango’s “Moviegoing trends & insight study Spring 2025,” those who attend movies with a partner and 95% of moviegoers enjoy their theatrical experience. “This is only my first time seeing it, so I definitely would like to watch it again,” said Browne.

“Sinners” portrays white people as the villains — as vampires — instead of as heroes. A Black woman, portrayed as a deeply attuned spiritual leader, is the savior. Annie, played by actress Wunmi Mosaku, is a spiritual healer and Hoodoo practitioner, deeply connected to the traditions of her community, who uses her Hoodoo-informed magical, healing, and spiritual abilities and knowledge throughout the film. The concept of a Black woman savior is uncommon, especially when Black women aren’t always represented with respect and dignity onscreen. Coogler creates a unique approach by purposely contextualizing the white characters against how they were depicted in the 1930s. Coogler and his crew use faith and music as tools that progress the story.

Corey Emanuel, a Black Media psychologist, focuses his research efforts on relating to Black TV and film audiences. He shared on Instagram Threads, “‘Sinners’ pulled off that rare cinematic moment — a 360 slow-mo scene carried by music,” said Emanuel. “You gotta do it flawlessly for it to make a lasting impression — last time I saw it done beautifully was ‘Lovecraft.’” The TV series he mentioned, “Lovecraft Country,” was an HBO show developed by Misha Green. Both “Lovecraft Country” and “Sinners” starred actress Wunmi Mosaku.

“Lovecraft Country”’s shares similarities with “Sinners” are that they both took place during in the South during the Jim Crow era (1950s and the 1930s); both involve Black horror; depict racism; have monsters (in “Lovecraft,” they are shoggoths); and include Black music and elements of African and Southern Black spiritual traditions.

Jihada Brown, a multidisciplinary exhibiting artist, felt it was a healing balm for Black communal wounds and very important for the Black community to experience Coogler’s project. “I cannot recall the last time so many of us had such amazing discourse over a film,” said Brown. As an artist herself, she appreciates Ryan Coogler and his crew for understanding the power they had in creating this movie. “It’s a beautiful film that made a big impact,” said Brown.

The audience, specifically Black members of the audience, made “Sinners” a fun movie experience. Audiences gasped, loudly commented, and talked to the screen. They also laughed, screamed during frightening parts, and applauded at the end. Plenty of chatter from people seeing the movie multiple times contributes to it being more than just “hype.”

“I’m speechless, I’m proud, I’m happy,” said the movie’s star Michael B. Jordan, in an Instagram post this past weekend. “We set out to do something — to tell a story, to be honest, to bare our souls as best as we can in the work that we do.” Jordan acknowledged seeing social media memes and conversations about the film. He even responded to some posts on Instagram’s Threads. “Everyone is taking something from it, and it’s so much to unpack,” said Jordan. “I’m blessed to be a part of it –– thank you sincerely from the bottom of my heart.”