“Creed” and “Black Panther” directing and writing dynamo Ryan Coogler dived straight into supernatural horror with his latest project that now terrifies in the 4K disc format in Sinners (Warner Bros., rated R, 2.75:1 and 1.78:1 aspect ratio, 137 minutes, $34.98).
In a story taking place back in 1932, World War I veterans and identical twins Stack and Smoke Moore (both played by Michael B. Jordan) return to their hometown of Clarksdale, Mississippi, after amassing stolen cash from their work with the Chicago mob.
They purchase a sawmill from a Ku Klux Klan leader and start a juke joint (speakeasy) for their local residents. Cousin and aspiring blues guitarist Preacherboy Sammie (Miles Caton and legendary musician Buddy Guy) joins the brothers to work at the club as a musician.
Before joining, his pastor father, Jedidiah (Saul Williams), warns that playing blues music attracts evil, but Sammie ignores him.
The Smokestack twins then recruit a team to help run Club Juke, including bouncer Cornbread (Omar Miller), well-known harmonica player Delta Slim (Delroy Lindo), Chinese suppliers Grace and Bo Chow (Li Jun Li and Yao), cook and Hoodoo practitioner Annie (Wunmi Mosaku).
On opening night, a trio of White folk musicians led by a pushy Irishman (Jack O’Connell) demand entrance to the joint to partake in the fun and, sure enough, something sinister this way comes.
In the deep, red vein of Robert Rodriguez’s 1996 action-horror film “From Dusk till Dawn,” Mr. Coogler orchestrates a historical tale mixing in vampirism and worth sinking one’s teeth into.
However, as biting is a hypnotizing musical score conjured by Ludwig Göransson, drenched in blues lore, dabbling in Robert Johnson mythos and supported by a serious dose of Irish folk music.
4K in action: Viewers are in for a treat as they watch a movie originally built for an IMAX experience with shifting aspect ratios now delivered via ultra-high definition with high dynamic range enhancements.
The presentation brings to life a period piece drenched with antiquity, thanks to vintage costuming, historical production design and a sickly yellow tinge that often pales over any of the dimly lit interiors.
The IMAX scenes overwhelm home entertainment screens, first led by a fantasy sequence with the full sonic force of the blues burning down Club Juke and highlighting a montage of musical and dance spirits of past and present representing African heritage.
Equally impressive, via both color and detail, is a frenzied Irish tribal dance and a final battle that embraces the screen-filling visual scope.
Best extras: Despite the lack of an optional commentary track, viewers still get enough production featurettes to fully explain the creation of this pending horror classic.
Let’s start with a 35-minute overview offering plenty of face time with the director as Mr. Coogler first explores his family and the early years of his life and why he considers “Sinners” his most personal and important film to date.
The segment then deconstructs the making of the movie with help from producers Sev Ohanian and Zinzi Coogler, editor Michael P. Shawver, costume designer Ruth E. Carter, production designer Hannah Beachler, cinematographer Autumn Durald Arkapaw, composer Ludwig Göransson and even an IMAX camera technician.
Next, viewers can watch 14-minute on the music led by Mr. Göransson touching on its Mississippi Delta’s blues roots and Irish folk music influences; and moments such as hearing from Buddy Guy in Chicago (with him even playing in the studio), watching legendary harmonica master Bobby Rush playing on the set, and an Irish chorus singing in the recording studio.
Next, the extras present a 10-minute segment on Mr. Jordan and the crew creating the Smokestack twins, followed by a religion professor who spends a too-brief eight minutes exploring the historical spiritual magic of Hoodoo in the Deep South and its relevance to the film.
Finally, and my favorite, horror fans get 11 minutes with creature makeup effects designer Mike Fontaine revealing the visual magic behind creating key vampires, some of the gory wounds and dealing with all of the blood.
• Joseph Szadkowski can be reached at jszadkowski@washingtontimes.com.
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