Sinners is one of the most creative films I\u2019ve seen in a long time. It blends several genres at<\/p>\n
once: a 1920s period piece, Quentin Tarantino\u2013style gangster violence, and\u2014most<\/p>\n
surprisingly\u2014a vampire film intertwined with a kind of documentary about how blues<\/p>\n
music traveled from the Deep South to Chicago.<\/p>\n
<\/p>\n
One actor plays two characters simultaneously, and you find yourself wondering how<\/p>\n
certain scenes were filmed\u2014especially when the two characters embrace, whether in<\/p>\n
affection or in a fight.<\/p>\n
<\/p>\n
The film deserves an Oscar for its sheer creative vision. I\u2019m not someone who usually<\/p>\n
enjoys Quentin Tarantino\u2013style violence, yet here the violence is embedded in such a rich<\/p>\n
and imaginative context that I was able to watch the entire film without recoiling. I\u2019m also<\/p>\n
not a fan of vampire movies, but the gradual transition from a realistic drama into a vampire<\/p>\n
story makes the shift feel surprising and original.<\/p>\n
Imagine Michael Jackson\u2019s \u201cThriller\u201d emerging unexpectedly within a serious drama\u2014one<\/p>\n
that never prepares you for the moment when vampires suddenly appear and turn on the<\/p>\n
humans.<\/p>\n
<\/p>\n
The creativity of the film continues right to the very end. Just when the credits begin to roll,<\/p>\n
another surprise appears. The story continues, and suddenly we find ourselves in the middle<\/p>\n
of what feels like a music documentary.<\/p>\n
No lover of film should miss Sinners.<\/p>\n","protected":false},"excerpt":{"rendered":"