Ryan Coogler’s latest film, ‘’Sinners,’’ dominated the box office upon its official release on April 17. Already a breakthrough film of the year, it sits at an outstanding 97% on Rotten Tomatoes, is generating Oscar buzz and has been hailed on social media as one of the pinnacle films of the 2020s.

Within 24 hours, I viewed the film twice—at the ICE Immersive theater experience at Regal LA Live and in 70mm film at the Vista Theater in Hollywood. Each time was amazing and, honestly, a religious experience.

Coogler, now temporarily freed from franchises, created the original story and shines bright with it. He reunited with frequent collaborators, actor Michael B. Jordan and composer Ludwig Göransson, for the fresh and raw revival of vampire films, taking the usual conventions and making them into a heartwarming story that intertwines the mythos of vampires while honoring the history of largely Southern Black Americans. The film also highlights Native Americans, Chinese Americans and Irish Americans for a complex tale that weaves together the many facets of these cultures.

Set in the 1930s during the late prohibition era, the story follows identical twins and World War I veterans named Smoke and Stack—both played by Michael B. Jordan—who make a grand homecoming to their hometown of Clarksdale, Mississippi. They plan to open a “juke joint” after they strike riches in Chicago. The brothers reconnect with old friends and family to open their club, but during the grand opening, the celebration is interrupted by the looming threat of vampires.

The film truly lives up to its title as it deals with people who either fall prey to temptation or rise above it. Music is the centerpiece, honoring blues music and the mythology associated with it. A major inspiration for the film was Robert Johnson, who was said to be a musician so good that many believed he sold his soul to the devil for talent.

The film was a gripping experience that had me on the edge of my seat, leaving me in tears with the beautiful way the story unfolded. While Jordan is the star, the film had a star-studded ensemble that included Wunmi Mosaku, Delroy Lindo, Jack O’Connell, Hailee Steinfeld and Jayme Lawson with newcomer Miles Caton in his first unforgettable feature film role.

Michael B. Jordan masterfully conveys the two distinct yet complementary brothers of Smoke and Stack in what I deem his career best. The chasm of personality between Smoke’s post-traumatic stress disorder from the war and Stack’s charisma in getting people to play and cater at the juke joint is mesmerizing, as both style and substance ooze out of his performance.

Miles Caton brings new energy in a scene that – I will not spoil – is transcendent in how it crosses barriers and truly exemplifies the Black musical experience. Not only that, but Caton’s voice as the character of Sammy sounds wise beyond his years, giving a soulful performance that can ignite a renaissance of blues music.

Delroy Lindo plays the part of Delta Slim beautifully, mixing in the pain and joy of being a Black man in America. He straddles the line between the comic relief and a wise mentor for the characters. Wunmi Mosaku was the heart of the film, playing Annie, a resourceful, patient and intelligent woman who took quick control of the situation, as she knew firsthand what the members of Club Juke were facing.

Jack O’Connell played Remmick, the masterful villain of this film. He gave an edge that brought comedy and chaos to the screen. The character’s Irish heritage brought a polarity that showed the spectrum of discrimination throughout America.

Jayme Lawson and Hailee Steinfeld also played superb love interests for Sammy and Stack. Steinfeld, being ? Black, was cast exceptionally as she showed strength and ferocity, portraying the complex classification of being a mixed woman in the 1930s American South. The overt sensual nature of Steinfeld and Jordan’s characters turned up the heat on screen, exuding chemistry throughout their performances. Lawson was flirtatious, but still piled on the sweetness; her and Caton’s relationship ensued in a cat and mouse game that was a thrill to watch.

Göransson’s score also deserves praise for the mix of old school blues with a rock opera styled overture, showcasing the dichotomy of the living and the undead. One may think that the blues score would be enough, but the rock kicks in to heighten the drama of the scene and make the vampires more threatening. This score and his work on legendary scores for films such as “Oppenheimer,” “Black Panther” and even “Star Wars” make me feel that Göranson could be the next John Williams.

“Sinners” can be seen as a metaphor of cultural appropriation, with vampires representing the culture vultures that are heavily influenced by African American talents. This is very important now due to how conversations and criticisms are being held in genres like rock, R&B, country and rap while their African American backgrounds are being diluted due to capitalism and non-Black artists.

The juke joint itself could represent a sanctuary of expression for this community. The attack on the juke joint shows how a community can be dismantled by bad-faith actors who promise unity but bring discord and exploitation.

In a viral video released by Coogler via Kodak, he describes the different ways his film can be viewed through a variety of aspect ratios. The larger the format, the more aspect ratio one can view the film in, creates a richer and fuller experience in the cinema.

In an era where highlights of the filmmaking process have been undercut in favor of flashy and embellished trailers with ostentatious popular music overlaid for meme-based promotional material, it is refreshing for Coogler, a visionary director, to give audiences a look into the curation of a film, celebrating it as an art form as opposed to content. Coogler’s infectious passion for this craft is sure to inspire a new generation of talent and usher in a renaissance of Black cinema that has previously been understated in prior years.

From the acting to the set pieces to the music, I cannot praise this film enough. I recommend viewing “Sinners” on the largest screen possible if you can, however, this may be difficult as the IMAX re-release sold out quickly.