parksiet

Sinners is pure cinematic bliss; it's the kind of movie that reminds you why you fell in love with movies in the first place. This movie rules - an unforgettable, genre-bending, cinematic experience that demands to be seen in IMAX. Mesmerizing, intense, and electrifying, Ryan Coogler has outdone himself yet again. It's masterful work, entertaining and artistically transcendent; what a picture! This is a shot of adrenaline for original filmmaking. What begins as a deep Southern gangster period piece soon transforms into a harrowing fight for survival and spiritual freedom against a ruthless clan of vampires. And it's absolutely awesome. It oozes creativity and features almost everything we are begging for as moviegoers. Its originality shines, specifically within the quieter moments, but the loud genre tropes are played to perfection as Coogler injects a ridiculous amount of adrenaline into each bloodstained sequence.

Don't complain to me about the state of Hollywood, don't lecture me about recycled IP, and don't talk to me about the future of show business if you aren't seeing Sinners in theatres. Sinners is further proof that Ryan Coogler is a generational director. I've wondered for years who will be the directors that I grow old with - who will be the names I see on a poster and immediately buy a ticket. After seeing Sinners, I think it's safe to say one of those directors is so clearly Ryan Coogler. Fruitvale Station, Creed, Black Panther, and now Sinners? At 38, he's delivering work that cements him as one of the true greats, representing a new era in cinema. This isn't just another entry in his filmography - Sinners is a gift to a generation starved for something original.

With Sinners, Ryan Coogler delivers a visionary masterwork that cements his place among the greatest filmmakers of our time, alongside Christopher Nolan and Denis Villeneuve in terms of scope, sound, and ambition. Coogler is firing on all cylinders - thematically, visually, and narratively, delivering an engrossing, moving, tragic, horrifying, devastating, thought-provoking, and extremely satisfying film. Seamlessly blending image and sound, he crafts a film that is both contained and intimate but also transcendent and huge, packed with bold genre swings-from vampiric dance-offs to tender meditations on death and spirituality. Coogler's authorship is unmistakable, his voice singular, and his ambition staggering. This isn't just a stylish horror flick-it's a layered, emotionally resonant, and thematically rich epic that feels like the fully realized expression of his voice as a director and his greatest film to date.

And let me be clear: this thing rips. From the moment it starts, it's operating on its own rhythm - bluesy, bloody, and boldly spiritual. The first half is a slow burn, sure, but it's all intentional. Coogler cloaks you in the atmosphere of 1930s Mississippi, using every cinematic tool in the box to immerse us in a different time and place. While the film takes its time immersing us in its setting and introducing us to the characters, once Coogler sets the stage, the music and the blood flow with an otherworldly kind of energy that is wholly singular and unforgettable. All the technical elements from the cinematography to the production design to the music all are excellent but what really is impressive is how well they are all brought together to create such a unique final product that oozes with style. The end result is one that seamlessly integrates a smaller and more artistic feel with everything that makes a big-time blockbuster exciting. There is nothing quite like this movie; it truly felt like it brought a breath of fresh air to cinema.

There is a sequence in the juke joint about halfway through that will genuinely levitate you from your seat, and will be hard to beat as the scene of the year. It's a breathtaking sequence involving music that is so transcendent and powerful and dripping with meaning that is completely communicated all through music and imagery. It's hypnotic and spellbinding; euphoric isn't even the right word to describe it. It's an insanely awesome piece of filmmaking and an absolute "moment" that works as the bridge to the second half of the film. I'd be surprised if any moment in film for the rest of the year can surpass how this one made me feel!

Ludwig Göransson's score for Sinners is nothing short of extraordinary-bluesy, electrifying, and absolutely essential to the film's emotional and atmospheric power. It is as integral to the story as the shadowy IMAX visuals, weaving a soul-gripping musical tapestry that elevates the entire experience to something transcendent. Göransson is on a legendary run right now, consistently delivering radically different, yet flawless work that I feel so lucky to be alive to witness. If he keeps this up, he's well on his way to being remembered as one of the greatest film composers of all time.

The performances in Sinners are stellar across the board, led by a phenomenal dual performance from Michael B. Jordan, who brings two distinct, deeply human characters to life with effortless cool and emotional precision. He's matched by a knockout ensemble, including a quietly powerful Hailee Steinfeld, a menacing and unhinged Jack O'Connell, and strong support from Delroy Lindo and Wunmi Mosaku. But the real revelation is newcomer Miles Caton, whose debut is nothing short of electrifying-this is a name we'll be hearing a lot more in the years to come.

It reminded me a lot of Jordan Peele films because of how layered, deep, and rich the screenplay is - I love that you can revisit nearly any scene in the film and deconstruct the ideas, motifs, and symbols - it's very thought-provoking. The world, music, and atmosphere create such a compelling lead-up that actually surpasses the entire vampire element. The vampires end up being like the little bit of Parmesan topping a bowl of spaghetti-it's nice that it's there, but it's not crucial to enjoy the meal.

Sinners is living proof that the biggest studios in the industry are still capable of creating artistic, provocative, and emotionally powerful stories. With Ryan Coogler's steady, brilliantly creative mind, an unforgettable score that's bound to rack up numerous awards, consistent performances, one of the most effective uses of IMAX, and an incredibly rich thematic approach to racial oppression, cultural identity and spirituality, it's no exaggeration to call this one of the most impactful films of the year so far. Intense, memorable entertainment with sharp social commentary. A bloody cinematic epic that had me in awe of the incredible filmmaking on display by Ryan Coogler, already a best of the year contender!

Imagine Jurassic Park with unicorns: that is Death of a Unicorn! It'll work for some and come off as extremely campy for others, but I had such a fun time with it! It really is a satirical Jurassic Park if A24 got weird with it. Instead of dinosaurs, there's a magical unicorn, a lot of greed, and pure chaos. It takes the "eat the rich" theme to wild, fantastical extremes in Alex Scharfman's hilarious feature directorial debut. The film is totally camp, and the entire cast plays into the ridiculousness of the story. Sharp in humour, class commentary, and unicorn horn kills, this movie shouldn't work - but it somehow does. It tackles a familiar concept but injects a fair amount of originality throughout. This cast is an absolute blast to watch interact on-screen, but it is Will Poulter and Anthony Carrigan who steal the show, thanks to Poulter's insanely funny line reads and Carrigan's brilliant non-verbal reactions. Jenna Ortega and Paul Rudd commit to the absurdity, carrying this fun, self-aware, well-crafted B-movie. It's a mix of horror, comedy, and sci-fi satire that mostly hits the mark. It does lose steam as it can't quite figure out how to bring it all together, but there is plenty of fun to be had. Also, the idea of unicorns turning evil is pretty awesome! It's an over-the-top, ridiculous B-movie horror-comedy that ended up being a bloody good time and got a few genuine laughs out of me! Sure, it doesn't have the most original plot structure and ends up being fairly predictable with some lacklustre visual effects, but it's an A24 killer unicorn movie that is pretty funny... what more could you want?!

Black Bag is a stylish spy thriller that plays like a workplace drama at times, complemented by an outstanding cast from top to bottom. The performances and script manage to elevate each other, even when the overarching plot becomes a bit overly convoluted. Steven Soderbergh dives into his reliable bag of tricks to deliver a slick, tightly edited, stylishly shot, and clever spy drama about a couple whose bond is tested in a world rife with secrets and scarce loyalty. Imagine the drama, toxicity, office politics, and romantic entanglements of a typical workplace, but with one major difference-every employee is a spy. While there might not be much traditional action, David Koepp's richly crafted dialogue is its own form of action, with enough twists and turns to keep viewers thoroughly engaged. It's a throwback to classic spy thrillers, giving Soderbergh and Koepp the perfect playground to have fun with sharp dialogue and great twists! And only 90 minutes! A fun time at the movies!