WARNING: This article contains Large spoilers for "sinners".

No one does what Jordandan Chick and Ryan Kogller are doing in genres of films these days - and it applies to chick and koggler. Despite some similar repetitive themes and generally shared interests, not even the most common of film films could not be mistaken as the same kind of director. The former burst at the scene with an extremely ambitious original after another, becoming the brand name overnight. The latter spent the last decade survivor and advanced within the study system after debuting with Sundance hit, elevating every production with the level of craft and passion that blockbusters so rarely get. These are two a lot Different storytellers who make a lot Different things, and would be stupid for everyone to merge their abilities for the most superficial reasons.

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However, it is not to say that their work cannot exist in dialogue with each other. If there is something that connects the two inseparable together, it's how they both use the Pop Entertainment mask to use in much stronger race ideas and inequality in America. And, in many ways, Koggler's "sinners" posting (which I have considered shining for /movie here) It feels like the apotheosis of a horror approach that has helped a pioneer with a one-two-three kick of "exit", "us" and "no". Where the villains of the film's films are so often frightening human (yes, including "no", as the scenes of proud explain. And by adding a unique twist to the mythology of the vampire, turning this traditional metaphor for lust and temptation into a metaphor for celebrating the bones of the black culture itself, "sinners" achieve something far more important than the almost perfect result of rotten tomatoes or sides.

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When the smoke is cleared, we may end up looking at Kogler's work of "sinners" as the next evolution of the specific chicken mission in the horror space - and we couldn't be more excited about it.

How much can the movies go to prove how empathy machines, as critic Roger Ebert has ever put so much more specific? Both Jordandan Chick and Ryan Kogller seem to be fully intended to find out. For example, take the "Exit" from 2017, which for the first time proved that the former Starwar "Comedy Central" could take its talents to the film media and use the visual language of the cinema as a weapon. What else would he call the successful gain of audiences from all the lanes and political beliefs to fully empathize with the black perspective, to that extent We would all react with a collective fear when the police car arrived during the last scene of that film? In "sinners", Koggler not only carries a page of Peeele Playbook as much as it adds fully to the extra material.

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What is pulling Koggler with "sinners" may also be that the "exit" sequence. He attracts viewers with the promise of a traditional vampire story, before turning it completely on his head and forcing us to consider the most widespread parasite of all: The guards of society are constantly stealing from their most marginalized voices. Although we follow Michael B. Jordandan In his double roles as the twin brothers and the warehouse smoke, the true Starwar of the story turns out to be Miles Catton, who stole the scene of Sami Moore. The film opens with him covered with blood and squeezing the broken neck of his beloved guitar, while his father of the preacher harvested and urged him to lower his guitar - and, after a sequel, his musical fornication - for good. Outdoor Outdoor Outdoor Wuni Mosaku quickly explains how some artists create music so powerful that it essentially serves as a gate between the past and the future, uniting cultures together far above the restrictions of space and time ... However, this is also a jackoner and jacker.

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Here, the typical vampire bloodshed is given a more modern and transplanted to a topic that is too relevant these days. Taking what color people face a daily basis and expand it to built -in vampires, "sinners" surpass their conventions of genres. In the process, it becomes something more.

There is a good reason why Ryan Kogler called his most personal film "sinners" to date. Music has played a key role in his life and in black history as a whole, reflected in a film that alternately treats music as an expression of several aspects at once: passion, defiance, sensuality, dreams, relationships and everything in between. All of this comes to the head when he sets out on the newly opened Juk-Zaglob and immediately blew the roof of the place (almost literally, as Koggler records this sequence with long-grown, a strong, dreamy atmosphere full of burning emberries and anachronistic images). When this inevitably means that vampires come to knock on the door, however, we find that they are not just for blood-these white (and, in the case of Haile Steinfeld, Maria, White-Water), who want to absorb individuals Everyone Aspect of their black victims. Although preaching a world of fantasy where vampires can live as one and be "together forever", Remik Kiva in myself during the climate final act in a moment of naked discovery: "I want your stories; I love your songs."

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If you have never understood the controversy around Elvis Presley, allegedly co-compiling black folk music for many of its songs, well, "sinners" puts problems in the real world as it is in sharp relief in a way that will probably make Jordandoran chick. In 2017 Now, one year after another presidential election in the United States, which returned our watches for eight years, Koggler announced a slim commentary on the racial animus of the nation, which only increased over time. Both the "sinners" and the "go out" go for these worries in incredibly unique ways, but we will not deny the shared legacy that both directors continue to encourage - the one that makes us thrilled when we see where they go.

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The "sinners" are now playing in cinemas everywhere.