Just when you thought it was safe to go back in the bloodstream, along comes a new horde of vampires, in Ryan Coogler’s “Sinners,” to taint it with yet another metaphysical curse. But Coogler is, by temperament, an analytical filmmaker: his first feature, “Fruitvale Station” (2013), dramatized a factual case of police violence; with “Creed” (a “Rocky” sequel) and the two “Black Panther” films, his artistry advanced as he mined mythologies for their political substance. In “Sinners,” he deploys gory fantasies to undergird his realistic vision. The film’s vampires are essentially metaphors, and the bodies they ravage are, above all, bodies of work and the body politic.
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