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You know when Annie placed her hand on Smoke's chest, and then he put his hand over hers while looking at her? You know when Smoke opened his jacket and showed he was still wearing the Mojo bag she'd given him and she looked up to him with the most roundest, softest brown eyes ever? Yeah that.

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I dont take any critique of Mary and Grace to be in good faith anymore. Because if its not about misogyny, then why is Annie always "too motherly" and Pearline always "doing too much"? Why isnt Cornbread a problem for also going out and getting turned before they knew Remmick was a vampire? Why isnt Smoke an asshole for leaving the grieving mother of his child all on her lonesome and why isn't Stack an asshole for sending Mary out in the first place?

Why are ALL the characters people have problems with in this movie the women?

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we’re all sinners

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I disagree with this but I can see why you have this opinion

Hot take but Yelena is already a better written character than Natasha ever was and she's only been in 2 movies and a couple TV episodes

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THAT WAS LITERALLY ALL I COULD THINK AB

did I love the new thunderbolts movie, yes.

would have I appreciated added a Natasha scene in there somehow even if it was a younger actress playing Natasha and yelena in the flashback, absolutely.

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Smoke and Annie were and look the same age. I know you lot aren't USED to seeing dark skinned Black women as love interests (especially plus sized ones) on screen but seriously, get a fucking grip. There was NOTHING to suggest she was any grown man's mama or sister. That is called bias.

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Also there’s something so important to me about Smoke and Stack openly saying they love each other and constantly proving that they love each other

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every time someone reduces mary's character in sinners to "white woman who caused all the problems" i slam my head into the nearest wall at a high velocity

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I forget how common car tints are, someone just called my car a fishbowl and I completely didn’t get what they meant 😭

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No she most definitely would’ve. Plenty of people like her were in the past, she would not be an exception. If the wrong person peeped her ancestry, she is done for. Thats the whole reason her husband and none of his family came down with her when her mother died. They don’t know and for good reason.

Stack also literally mentions this hypothetically, he said if someone were to put a hand on her, he and Smoke would kill them. If this wasn’t a legitimate fear, he wouldn’t have brought it up.

Mary.....babe.....You're not the one who would be strung up and castrated if yall are caught. And you know that. So stfu and g'on somewhere, leave Stack alone.

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The funniest part of Sinners was when the Native Americans just said “yeahhh good luck with that”

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pov: you’re watching that one scene in Sinners (2025)

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One of my favorite aspects of Sinners how they use the musical scenes to build tension. Because they start out small, with just Sammy and Stack in the car, then the performance with Slim at the train station, and then working up to the scenes in the barn.

The first juke sequence is the most visually stunning, of course. It's chaotic but overwhelmingly positive, beautiful, and joyous. When we move to Pearline's song, things start to darken. The thumping stomps are timed with the twins beating the man with the loaded dice. We've already seen violence in the film, but this is a steep escalation intentionally set to music.

Then, we think the tension is going down when the ******** show up (no spoilers 🤫), but they are so immediately unsettling that we never feel at ease. Their music is sweet and their voices are soothing, but it's a front, one that fractures pretty quick but shatters completely with the Rocky Road to Dublin.

Rocky Road is a perversion of the first juke scene, twisting the joyful chaotic energy of the dance into a masterfully disturbing parody, where the full evil and madness (and twisting of spirituality) of the ******** is put on display.

It's just such a good way to build the narrative. I love love love how serious they were about making music the keystone of every filming decision.

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I love that Ryan Coogler cast a big, thick and glorious dark skinned black woman as the main love interest and I love that the sex scene was unapologetically sexy and passionate. I loved seeing this big strong and muscular black man bend this big, thick ebony goddess over and gave her some hot and heavy soulful kind of love. It wasn’t wrong or gratuitous.

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Well that wasn’t what Remmick wanted with Sammie, but it makes me happy his family pulled up for him regardless 😭

my favorite post-credit scene was when it was very clearly implied that smoke only let stack go in exchange for making sure their baby cousin didn’t get turned into a monster, and then went ousside and shanked the irish vampire bc one thing the juke joint family was NOT doing was selling off their baby cousin to remmick in exchange for their lives. bc at the end of the day, it was about preserving sammie’s future. it was about giving the children a chance to grow up. remmick wanted sammie to help him lure in more humans and thus make more vampires, but smoke wasn’t having that. on god, that white man was NOT touching sammie. forced vampire marriage CANCELLED 💀

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Sinners, or, How Ryan Coogler Tricked a Bunch of Horror Nerds Into Seeing a Musical

Sinners is horror—damn good horror, at that—and as a horror nerd I know it'll likely top my end-of-year lists for both the genre and movies as a whole, but it is also a proper MUSICAL. Perhaps it doesn't meet all of the formalistic criteria for a traditional movie musical like West Side Story, where the characters' singing and dancing occupy this liminal space between diagetic and non-diagetic and are meant to portray their subjective perspectives and feelings rather than something objective and factual, but 1. Sinners occasionally does do that, namely in the amazing and already iconic "I Lied to You" sequence, and 2. it's more or less the same kind of mostly-diagetic musical as O Brother, Where Art Thou?, and just try arguing that isn't a musical.

(related, Sinners and O Brother would make for a banger double feature; there are pretty substantial tonal and genre differences between the two, of course, but they share a time, place, and a ton of musical overlap)

I'm already seeing some "It's not actually a musical" chatter in various comments sections online, and it strikes me as the similar defensiveness from mainline critics who love a well-made horror movie (The Silence of the Lambs, Get Out) but are hesitant to call it horror because of the low attitude toward the genre and its artistic potential that has plagued a lot of discourse. The irony here is I think this particular defensiveness is coming from horror nerds themselves. There's a kind of person who dismisses musicals because people suddenly breaking out into song and dance ruins the immersion and/or is too silly for their tastes, and yeah, taste is taste, but I'm hoping the largely diagetic format of the sung and played music in Sinners gets a few people to rethink their genre prejudices.

Anyway, the "Rocky Road to Dublin" scene set my Irish(-Canadian) heart ablaze and is a hell of a villain song.