Sinners (2025).

Review #2367: Sinners.

Cast: 

Michael B. Jordan (Elijah "Smoke" and Elias "Stack"), Hailee Steinfeld (Mary), Miles Caton (Sammie Moore), Jack O'Connell (Remmick), Wunmi Mosaku (Annie), Jayme Lawson (Pearline), Omar Benson Miller (Cornbread), Li Jun Li (Grace Chow), Delroy Lindo (Delta Slim), Yao (Bo Chow), Lola Kirke (Joan), Peter Dreimanis (Bert), with Sam Williams (Jedidiah), and Buddy Guy. Written and Directed by Ryan Coogler (#760 - Creed and #1050 - Black Panther)

Review:

“This film is very much me. I love anything supernatural. I’m in. I like stories about communities, about neighborhoods, about archetypes. And I love period anything. So, when you layer those things together, that does it for me.”

It sure is interesting to have a horror movie where an actor gets to sink their teeth in playing multiple roles, isn't it? This is the fifth feature film from Ryan Coogler, who had made his debut as a filmmaker with Fruitvale Station (2013) that incidentally had Michael B. Jordan as the lead (that film dealt with the shooting of Oscar Grant). Apparently, the time to make the movie from pitch to production in less than six months that had shooting on IMAX cameras; it is a co-production of Proximity Media, which I did not realize was founded a few years by the Cooglers. It was after the press tour of the second Black Panther film (2022) had ended that saw Coogler come up with the premise, in which spending time resting with Blues music reminded him of his uncle from Mississippi, stating that listening to the music felt like a way to try and bring him back to life, in a sense. After a bidding war ended with Warner Bros. distributing it, the movie was shot in roughly three months last year for apparently over $90 million and had the pleasure of not being delayed so one could theoretically watch it on Easter weekend (and, for whatever reason, in 25 years Coogler will have the rights to the film reverted to him).

Really the movie is more about community and family than just a straight vampire movie, although From Dusk till Dawn (1996) comes to mind (well, the idea of vampires having a certain type of link reminds me of Vampires [1998], but you can argue with me later). The enjoyment of the movie comes from seeing the gradual peeling of familiar layers in a slow boil of 137 minutes (complete with a certain surprise in its credits), although it probably helps to go into it with as little knowledge as possible. Sure, knowing it has vampires sure is something, because, well, don't be mad that a movie with vampires has vampires, but there is an attempt to have a worthwhile period adventure that has accompanying music for a fusion that does lend for a entertaining atmosphere. Sure, it probably is a bit too long when trying to wrap its ending up, but it will make a solid movie to at least pop in one time if you're into it. It is a movie that shows salvation with the power of making choices for oneself, which in this case means the power of music for one's soul.* The decisions made at the end of the movie are about choices made willingly without settling as some sort of "escape". The film has two actors to hold the movie in viewing the lines of music, power, and some sort of faith: Jordan and Caton (the son of gospel singer Timiney Figueroa, making his debut). Jordan gets a role that might as well be one for a lifetime: playing two folks with their distinct levels of charm within the veneer of tragedy that clearly has shaped them. It isn't merely a gimmick, he manages to make the twins distinct people that are interesting to see in their urges play out (sure, the first half of the film does split them up so one can see distinct interactions, but you get the idea). Caton plays the coming-of-age-turned-survival role with no shakiness, which means a good deal of energy and timing, particularly since it involves the blues that he handles with useful presence that doesn't fade in the background with such a stacked cast. Steinfeld** plays it generally well with the confidence that comes in sorrow that is rooted in love even when the time comes for, well, vampire glee in the eyes. Truthfully, the highlight in the supporting cast is Lindo, who is given a pretty familiar character type in "lovable drunk" that he handles with warmth that makes you smile each time he pops up on screen, although Mosaku makes a go at it with earthy presence when paired with Jordan. O'Connell makes a fine adversarial presence, one that manages to achieve some of the qualities that basically plays it as if vampirism could be its own type of religion or cult that could be an escape from problems (read: Mississippi, October 1932), complete with knowing one's memories as if it was in their own blood. It probably isn't as defined as much as it could be to really make this more than "pretty good", but the pursuit of music and "community" is interesting enough to hold the movie's second half to a certain point. The movie gets wrapped up with tidiness that wants to make it so things are pretty sealed up with each of its three characters that will leave the viewer with general satisfaction (whether it needed a certain beat to happen though is up to the viewer) with the choices that are made willingly in the name of, well, love. As a whole, Sinners is the kind of movie with commitment and energy to its subject matter of Deep South, blues, and blood that might deserve further watches down the line for what it brings to the table in style and charm.

Overall, I give it 9 out of 10 stars.***

*Noted president of the Josh Allen Fan Club, among other things. Sorry, I couldn't resist, although I'll give you a link anyway.

**Okay, I will admit that the music montage...is one I had to step out in the middle of it happening because I had to pee, but I imagine that might be the standout sequence for some people.

***Correction time. On the previous review of The Family Jewels, a clerical error (i.e. idiot mistake) has now been fixed, in which that movie is a 6/10 rather than the 7/10 I accidentally scribbled first. Also, with Sinners, it is more of a 8.5/10 but I'm not sure whether to actually go with .5 ratings yet, and it seemed best to round up and maybe come back to it later.

Spider-Man: Across the Spider-Verse.

Review #2015: Spider-Man: Across the Spider-Verse.

Cast: 

Shameik Moore (Miles Morales / Spider-Man), Hailee Steinfeld (Gwen Stacy / Spider-Woman), Brian Tyree Henry (Jefferson Davis), Luna Lauren Vélez (Rio Morales), Jake Johnson (Peter B. Parker / Spider-Man), Jason Schwartzman (Dr. Jonathan Ohnn / The Spot), Issa Rae (Jessica Drew / Spider-Woman), Karan Soni (Pavitr Prabhakar / Spider-Man India), Daniel Kaluuya (Hobart "Hobie" Brown / Spider-Punk), Oscar Isaac (Miguel O'Hara / Spider-Man 2099), Shea Whigham (George Stacy), Greta Lee (Lyla), Mahershala Ali (Aaron Davis), Andy Samberg (Ben Reilly / Scarlet Spider), and Amandla Stenberg (Margo Kess / Spider-Byte) Directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson.

Review: 

You know, Spider-Man: Into the Spider-Verse grew on me. I mean, it was a pretty good movie when I first saw it in the winter of December 2018, but the fact that it became the type of movie I found myself wanting to watch it as some sort of annual tradition makes it especially apparent in how entertaining it was. It was an entertaining animated comic book movie that felt vibrant and different from not only animated adventures but also Spider-Man films in general. It did do references when it came to citing the various incarnations of the character (such as say, a cartoon parody with Spider-Ham or ones based in 1930s noir or anime) without losing what really mattered in the end: anyone can wear the mask. Undeniably, a sequel was going to happen. My surprise (aside from it winning the Academy Award for Best Animated Feature, because hey, when do comic book movies win awards?) was that not only would it take five years for a sequel to come out but that there would also in fact be another Spider-Verse film after that (of course, don't take my word for it, since I also thought Halloween (2018) would be a one-off, and then they proceeded to make two ridiculously mediocre back-to-back sequels). The film was written by Phil Lord, Christopher Miller, and David Callaham (Lord co-wrote the first film while also serving as co-producer on both Spider-Verse films with Miller), and it is the fact that they wrote such an expanding story that necessitated a third Spider-Verse film which will be called, wait for it, Spider-Man: Beyond the Spider-Verse.

Irrational or not, a sequel has to overcome the thought that nags in my head all the time: how does the film go in the various aspects that matter beyond originality? One thing is for sure is that the film is about the same level of enjoyment as I hoped to have in a pretty good sequel, one that has to balance the double-edged sword of being a sequel and also basically being half of a two-parter. There are a handful of Spider-Verses visited here, each meant to look like a different artist drew them, which goes to show that one can make scope in a comic book film without clouding it in similar shades of CG. I think being just a notch below the sequel territory of films like The Empire Strikes Back (1980) is a compliment. It presents a new step in the arc of trying to maintain oneself after making the step from having a suit and actually being able to use it: just what does it mean to be a hero, especially when it means to be Spider-Man? Power this, responsibility that, but how does one handle a situation you may not be able to solve regardless of how prepared you are? The film is a visual treat in the manner you would expect from filmmakers and animators that clearly want you to pay attention to what is on screen and what strikes out from the various locations and also the various characters, particularly with Spider-Punk. The film has its share of humor to go along with the growing chemistry between the two leads as played by Moore and Steinfeld and the set-up to bring each of these Spider-folks together and how one exactly sees a cliffhanger coming in a film series that says that anything is seemingly possible. In that sense, it makes a suitable adventure for 140 minutes that shows the benefits of animation (which, you know, is just as much a form of film as live-action) that ironically shows up yet another earlier Spider-Man film made by a certain cinematic universe (which actually tried to do their own "multiverse" film) that liked to do their own "easter eggs". The action (when seen among the various locations) is vibrant and interesting to follow without seeming blurred in staging or in overwrought timing, which is par for the course for what you hope animated films (or films in general) would do. 

Moore (as the fourth theatrical Spider-Man, remember) has proven well in this title role, with his charm always managing to come through even when balancing the lingering doubts that still arise from, well, you know, and the doubts ahead. His scenes with his on-screen family in Velez and Henry feel just as interesting as ever in establishing the differences that matter between parent and child (particularly with Velez in a scene where she tries to understand just what is going on with her son as he tries to grow up and maybe tell her something important). Steinfeld proves just as worthy in her own type of wavering confidence, wrapped up in trying to make her own choice in what is most important in terms of saying vs. doing. Among the new folks is folks played by Rae and Soni (each are fine) with the stick out being the one with firm punk elements (no labels) in Kaluuya, who is actually pretty entertaining. Issac (now with a starring role after being shown briefly in the end-credit scene of the last film) makes for a quality balance among the spider-folk in the art of logistical force, which given the amount of screentime could certainly be thought of as just as adversarial as Schwartzman, who does hold his own in the sudden shifts from would-be villain relief to creepy threat. The confrontation sequence between Moore and a "Spider-Society" in what really matters when handling what seems like fait accompli is especially important to understanding the film at its heart, if you think about it. Of course, Johnson does return from the earlier film as well, having emerged from the cocoon of mentor-in-theory to parenthood, which does lend itself to a few amusing moments. As a whole, I think the first film is probably a bit better, maybe because it managed to endure quite well in my head over the years, but the second film will likely have its own worthy place in viewing without trouble. Of course, sticking the other part of the cliffhanger next year would certainly help, since nobody likes to be left hanging without a net. It is a vibrant and effective sequel that makes all the right moves in what you would expect from an animated film or a sequel in general that has plenty of spectacle and heart to make one curious for what could be next.

Overall, I give it 9 out of 10 stars.

Spider-Man: Into the Spider-Verse.

Review #1172: Spider-Man: Into the Spider-Verse.

Cast: 
Shameik Moore (Miles Morales / Spider-Man), Jake Johnson (Peter B. Parker / Spider-Man), Hailee Steinfeld (Gwen Stacy / Spider-Gwen), Mahershala Ali (Aaron Davis / Prowler), Brian Tyree Henry (Jefferson Davis), Lily Tomlin (May Parker), Luna Lauren Velez (Rio Morales), Zoë Kravitz (Mary Jane Watson), John Mulaney (Peter Porker / Spider-Ham), Kimiko Glenn (Peni Parker), Nicolas Cage (Spider-Man Noir), Kathryn Hahn (Olivia Octavius / Doctor Octopus), Liev Schreiber (Wilson Fisk / Kingpin), and Chris Pine (Peter Parker / Spider-Man) Directed by Bob Persichetti, Peter Ramsey (#378 - Rise of the Guardians), and Rodney Rothman.

Review: 
February 25, 2019 update: Congratulations goes out to this film, which won the Academy Award for Best Animated Feature last night, which is certainly well deserved. 

With the amount of superhero movies that have been released in this century (or more specifically, in the past decade), one would wonder how far these films can go before the feeling of burnout and over-saturation sits in, particularly with the structure and look of said films, particularly with this being the seventh theatrical film with Spider-Man in the main role. With that said, Spider-Man: Into the Spider-Verse is a vibrant and entertaining movie that has plenty of style and exuberance to go around, being an amusing film with a story (done by Phil Lord while having a screenplay by him and Rothman) that holds itself together without tiring the eyes or senses throughout its 117 minute run-time. Moore proves charming and up to task for the role, sticking out well among the group of heroes, being relatable and easy to follow along with. Johnson takes his role and plays it with a good sense of humor and charm while being an interesting take on the hero while not having a too familiar feel for the mentor type that he plays. The rest of the heroes (Steinfeld, Mulaney, Glenn, and Cage) are also enjoyable, having just enough moments of charm and humor to go around that make the film feel fairly whole without feeling too closed in or distracted. The other members of the cast are also fine in giving the film some emotional depth, such as Ali or Henry, who help make sure the film doesn't get lost between juggling an origin story that resonates without an ounce of staleness. The villains in the film are fairly entertaining for their time on screen, with Hahn being amusing while Schreiber conveys some menace alongside recklessness. It cannot be understated how mesmerizing the animation is, as it has a look that tries to emulate a comic book that took at least a year to even get just a few seconds of good footage, with the amount of animators of over 140 being the most for a film by Sony Pictures Animation. It takes a bit of time for the eyes to get used to how active the film is, with plenty of color to go around, but it always seem to feel and look right. The music is also fairly interesting to listen to. The film is an entertaining adventure, balancing humor and action with enough sense to not indulge in one category too much while having some neat moments with its characters. The climax is executed fairly well, rewarding its audience while inviting the possibility for more films with its main hero that I would be just fine with, particularly with the possibilities that can happen with a superhero film such as this. On the whole, I thoroughly enjoyed the movie for its interesting animation, a finely built story alongside useful characters and plenty of entertainment value to go around that I recommend wholeheartedly. It definitely ranks as one of of my favorites film experiences for the year, and it sure is worth at least one watch.

Overall, I give it 9 out of 10 stars.

Movie Night: True Grit (2010).

Review #659: True Grit (2010).

Cast
Jeff Bridges (Reuben J. "Rooster" Cogburn), Hailee Steinfeld (Mattie Ross), Matt Damon (LaBoeuf), Josh Brolin (Tom Chaney), Barry Pepper (Ned Pepper), Domhnall Gleeson (Moon), Bruce Green (Harold Parmalee), and Ed Lee Corbin (Bear Man) Directed by Joel Coen and Ethan Coen.

Review
I knew that one day I'd eventually watch a film by the Coen brothers, it wasn't intentional for it to be almost four years after this show started, it just happened that I didn't. But now I'm rectifying a mistake, in a sense, and with a recent Coen movie, which just happens to be True Grit. Based off the 1968 novel by Charles Portis, True Grit attempts to be like its namesake and succeeds. What I like about the movie is Jeff Bridges. He is so interesting to watch in this role, even at Cogburn's lowest point, Bridges manages to be so effective at making you feel empathy for him, and it's just so fun to watch him interact with nearly any actor in this film. Steinfeld is really effective at playing such a hardened child, it's interesting to watch the movie from her perspective and watch her progression throughout the movie. The rest of the cast is good, I like how Matt Damon practically blends into the role, and his interaction with Bridges is pretty fun to see. One of my favorite scenes is a scene with an actor who is the movie for only one scene, and that is Ed Lee Corbin...as a Bear Man. Watching him act while wearing a bear suit while talking to Bridges is really amusing and oddly memorable. The movie is a tale more about the journey and the progression of revenge on a person than the revenge itself (Brolin is only in the last half of the movie), I like how gritty the movie can get, I especially like how well made the movie is, there isn't a scene in the movie that is badly made. This is a movie with many redeeming features, two of them being Bridges and Steinfeld, who really make the movie even better. The fact that it runs under two hours probably isn't a selling point for most, but I'll use it solely because sometimes a Western can be a breeze to go through. But hey, watch it for Bridges. Or the Bear Man.

Overall, I give it 10 out of 10 stars.