Movie Review

Thriller film Sinners hits hard with horror and two Michael B. Jordans

Michael B. Jordan and Miles Caton in Sinners.

Photo courtesy of Warner Bros.

Writer/director Ryan Coogler has become so well-known for his blockbuster films - Creed, Black Panther, and Black Panther: Wakanda Forever - that it’s easy to forget that he made his debut with the small-but-powerful 2013 film, Fruitvale Station. After more than a decade, he’s finally returning to original material with his latest film, Sinners.

Each of Coogler’s films has either starred or featured Michael B. Jordan, and this one gives moviegoers a double dose, as Jordan plays twins who go by the nicknames of Smoke and Stack. Set in 1932, the two hustlers have recently returned from mysterious (and possibly criminal) work in Chicago to their hometown of Clarksdale, Mississippi to open a juke joint.

They call upon a number of friends and family to help them with the venture, including cousin and guitar player Sammie Moore (Miles Caton), Smoke’s old girlfriend Annie (Wunmi Mosaku), piano player Delta Slim (Delroy Lindo), bouncer Cornbread (Omar Miller), and Chinese couple Bo and Grace Chow (Yao and Li Jun Li). Trouble is never far from the brothers, though, whether it’s Stack’s old girlfriend Mary (Hailee Steinfeld), the Ku Klux Klan leader who sold them the property for the juke joint, or something even more sinister.

Coogler began his feature film career by confronting the issue of unjustified shootings of Black people by police, and how Black people are perceived by society has been a part of everything he’s done since. By placing this film firmly in the middle of the Jim Crow era, he infuses the story with all manner of subtext, including the injustice of sharecropping and prevalent segregation in the South.

Music, specifically Blues, plays a big part in the film as well. It’s championed through the emerging talent of Sammie and the veteran presence of Delta Slim, but it’s also a driving force for other parts of the plot. Sammie is decried by his pastor father for playing “the devil’s music,” while strange newcomer Remmick (Jack O’Connell) seems to appreciate it a little too much. A fantastically surreal scene at the juke joint turns into an entertaining and educational lesson on the history of Black music.

It’s Remmick’s obsession that’s at the center of the final hour or so of the film, one in which all hell breaks loose. The manner of that hell is probably better enjoyed if it’s not spoiled here, but suffice it to say that Remmick has an evil to him that threatens to destroy Smoke and Stack’s venture before it even gets started. The horror aspect of the film is fine, but it actually winds up being the least interesting part of the whole story.

Jordan can occasionally go over-the-top with his performances, and with him playing twins the threat of doing so was doubled. But he remains relatively restrained for most of the film, giving each twin their own unique spin. Caton, a rising R&B singer, makes his acting debut in the film and winds up stealing every scene he’s in. The rest of the cast complements each other well, with Mosaku and Steinfeld being standouts.

Coogler has proven himself to be a savvy filmmaker in each of his previous four films, and with Sinners he combines the personal with crowd-pleasing elements to great effect. It features great music, an insightful story, and even some gory action for an experience you’re not likely to find anywhere else.

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Sinners opens in theaters on April 18.

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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Photo courtesy of MUBI

Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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