Opiniões dos críticos

What a full-on mash-up [Sinners] is: action, horror, social commentary, comedy… they are all here, and then some... It's an almost brilliant piece of work, but like the bullet-riddled bodies that pile up, there are so many nagging little holes here that meaning slightly drains away like squandered blood in a leaky colander.

The supremely talented writer-director [Ryan Coogler] turns once again to [Michael B. Jordan] — star of all four of his previous films — for his first completely original movie. Both men are firing on all cylinders.

All of the elements of impressive craft blend to make a wholly unique concoction, a bloody, eerie, creepy and yet thoughtful and emotional exploitation movie about demons, ghosts, black magic and haunted things. Blessed are we to have Ryan Coogler, elevating genre films on every level.

Sinners is one of the most distinctive, confident mainstream films of the modern era, but it nonetheless leaves an audience with the tacit reminder of the limits of art to set one free in a system that profits as much off its exploitation as that of manual labor.

An idiosyncratic, thematically dense twist on the vampire myth that’s oddly paced but beautifully played. One to sink your teeth into.

Veering confidently between pulpy and profound, this ambitious, if occasionally uneven, meditation on art, appropriation, betrayal and redemption never sacrifices what’s on its mind for its primary aim, which is to shock and enthrall.

[Sinners] is a messy picture that throws the kitchen sink at the genre and, yet, somehow, often misses... It’s a shame to see Coogler’s ambitious designs ultimately conform to genre conventions, causing the intended awe to happen only in flashes.

[Sinners] thrillingly continues [Coogler's] post-“Fruitvale Station” tradition of filtering real and imagined Black histories through the prism of blockbuster entertainment, and in a way that recognizes genre as a living connection between the past and the future,

If cinema weren’t in such a sickly state, Sinners’s electric fusion of genres – historical epic, horror, and squelchy actioner – would be a guaranteed box office sensation. Instead, the film arrives with an uneasy sense that this is some kind of final stand for original ideas. One can only hope audiences recognise its bounty of riches.

Few filmmakers can handle a range of genres better than Coogler, and he masters the action with enough assurance to thrill grindhouse fans. But he’s already painted this corner of the segregated South so effectively that the supernatural (and metaphorical) menace can feel cumbersome – particularly as it takes our attention away from the very real world he’s already evoked.

Coogler doesn’t reinvent the vampire movie with Sinners, but in a current era of American cinema where messages are force-fed, a thoughtful social satire which gives viewers time to dissect––and never lets its loftier thematic aims get in the way of its junky thrills––is a breath of fresh air.

Though [Coogler's] latest film... traffics in familiar horror-action tropes, its milieu and thematic arguments feel novel to the genre. Big, ambitious, and erratic, Sinners is a wide-appeal studio movie from a filmmaker breathtakingly adept at the form.