“Blood & Sinner” film criticism: vampire horror full of music and blood

It is quite possible that Michael B. Jordan has long been longing for a twin brother. In “Blood & Sinners” he now fulfills this wish through a trick – he plays a double role. For two, the Smoke twins Elijah and Elias also find the hunt for vampires much easier-you should think.

In order to start all over again, the two are 1932 from Chicago (where you turned several crooks) returned to your old Mississippi home and open a nightclub in a decommissioned mill. But suddenly there are undead at the door and have great appetite for music and the blood of the guests.

Unconventional horror of the slower kind

“Black Panther” and “Creed” director Ryan Coogler This time joins in the tradition of Jordan Peele and surprises us with an unconventional horror film that will continue to sound for a long time – not only because everything revolves around music, but above all because of the rich topic and the inherent subtext of the story.

However, if you have adjusted to a no -frills horror film, who turns up fully from the first minute and does not treat us to a breather, but jumps from jumpscare to jumpscare will be disappointed. “Blood & Sinners” shows in the opening scene that something terrible must have happened here, but when a flashback takes place by 24 hours, Coogler is very leisurely and introduces many different figures. Towards the end, however, outbursts of violence in a bloody showdown await us.

Special vampires

The vampires only come into play after around 45 minutes. On the one hand, these bloodsuckers traditionally give themselves very traditionally, do not tolerate a garlic, are grilled by the sun, can be spelled through wooden pegs and have nice shining eyes that would have lacked a “Twilight” vampire for a complete glitter happiness. The fact that they cannot enter a foreign house on their own, but have to be kindly asked by the residents, is well known. On the other hand, they behave quite unusually and are literally obsessed with music, whereby their Irish leader Remmick (Jack O'Connell) gives the tone. While the barn is fulfilled by the blues, the undead in the field in front of it tuned their own chants.

Makes the music

If a real exceptional artist puts his whole soul in the music, it can not only cause enthusiasm in the human audience, but also attract evil. According to Folklore, this has always been the same as we will be informed of the start of the film. The young Sammie (Miles Caton) also belongs to this guild and when it plays for the first time in the old mill barn, this leads to an exciting scene that has been impressively implemented: the present is overturned and in a single attitude a wide variety of musicians from a variety of times gather in this place. At the same time, the preacher son Sammie proves to be stronger than the actual hero of this narrative and we experience the birth of a great artist, which will be shaped by this one – incredible – night for further life.

Greetings from Tarantino

What appears to be a vampire film can also be seen as a snappy comment about the music business, which shows how black blues artists are captured and commercialized by the whites (white vampires as a blues vacuum cleaner, so to speak). In addition, the danger is not only from the biting undead, because in this period of the early 1930s in the south of the United States as a very real threat lurks right behind the next corner of the Ku Klux-Klan.

Social tensions, folklore, horror and music result in an exciting and startling mix. Perhaps some of us who specialize in strange daydreams have already asked themselves what would have come out if Tarantino had shot a black musical version of “From Dusk Till Dawn”? “Blood & Sinners” offers the impressive answer. When Michel B. Jordan finally opens a coffin and his revenge fully cut out, he also turns into a Black Django – but in that case Tarantino and Jamie Foxx were clearly faster again.

4 ½ out of 5 light -fashioned undead