Banish Ghosts and Goblins

When I was a kid, I just loved monster movies.

Frankenstein, Dracula, the Wolfman, the Mummy, I couldn’t get enough of all the old Universal Studios horror contingent--much to my father's dismay.

And then there was Godzilla and all the massive Japanese creatures stomping their way through Tokyo on a regular basis.

But then horror flicks got gorier and I got older and, even though I still enjoy a good monster story, there’s a cynical side of me that believes these movies are giving humanity an undeserved break.

Pick up a newspaper or switch on the TV and you’ll find countless examples of monstrous acts happening all over this world every single day—with no supernatural forces to blame.

Last week, I sat down to watch Sinners, Ryan Coogler’s horror spectacular and while I do have some complaints, there is a sequence in the film that one of the most brilliant things I’ve seen in ages.

The story takes place in the 1930s and concerns twin brothers—both portrayed by Michael B. Jordan—who return to their hometown in the Mississippi Delta from Chicago to open a juke joint using money stolen from criminal syndicates.

Their younger cousin Sammie, a singer and guitarist, joins them despite his pastor father Jedidiah's warnings about the sins of blues music.

Nevertheless, Sammi takes the stage, and we’re told how his music can open the portals of time.

The revelers are joined by figures throughout history, from Zouli dancers to people twerking, a Chinese opera performer and a DJ spinning records.

It is an incredible piece of filmmaking and I am hard-pressed to recall the last time I was so blown away by a movie.

Who Goes There?

And that’s why I’m a little disappointed with the story’s direction after this scene.

It turns out that Sammi’s music also attracts Remmick, an Irish vampire who shows up at the juke joint with his ever-expanding crew of bloodsuckers.

And to be sure, Coogler does so much great work with this character, as Remnick leads his followers in an evil-spirited step-dancing rendition of “Rocky Road to Dublin.”

But I feel the director settled when he could have kept on soaring. He is clearly talented and the horror sequences are well done, but even with some original twists, it is still a vampire movie.

I must say that I do like how the undead in this movie must be invited entrance by their intended victims. To me it just reeks of Catholic guilt and how it's your fault if these vile buggers get their fangs into you.

Coogler said he was influenced by, among other films, From Dusk till Dawn, which was directed by Robert Rodriguez and written by Quentin Tarantino, a B-movie knockoff that I liked, but at the end of the day—no pun intended—it was still a B-movie.

He reportedly drew heavily from his family history and musical passions, describing the screenwriting process as a spiritual experience where he felt guided by the presence of his ancestors.

I thought that Coogler was aiming so much higher, as he covered themes of racism, religion and poverty. The Klan features prominently in the story--why not make them the film's monsters?

They don't need any embellishment. They're demons in white sheets.

Several critics suggested that the film's more grounded first half was superior to the horror driven later acts and I’ve got to side with them.

Still, this a great film and should not be missed. And I can’t wait to see what Coogler comes up with next.