
Sinners movie review: bootleg vampires
Wildly primal, big and bold, fueled by pain and rage, by community and family, throbbing with love and sex and joy, infused with magic. A sumptuously textured, unmissable howl of a passion project.

Wildly primal, big and bold, fueled by pain and rage, by community and family, throbbing with love and sex and joy, infused with magic. A sumptuously textured, unmissable howl of a passion project.

A travesty of corporate cynicism. Its desperation to ride Spider-Man’s coattails is pathetic, but its convoluted, coincidence-laden nonsense is duller than you’d imagine: it’s not even so bad it’s fun.

It’s almost impossible to convey the level of excitement and anticipation if you didn’t experience it that spring and summer of 1999…

Looks great, but the plot falls apart if you poke it and makes no attempt to grapple with AI’s potential. Instead it renders its robot people as a racialized Other in a clunky metaphor for bigotry.

I have chosen the absolute nonsense of “Somehow, Palpatine returned,” which is so ridiculous that poor Oscar Isaac seems unable to muster enough enthusiasm to even pretend it makes sense…

And do you still kinda sorta half believe it?

And perhaps more pertinently, if it is, how do we fix it?

With its melancholy regret and bittersweet nostalgia, this is far superior to the 1986 blockbuster. But as the sun goes down on American imperialism here, the last-gasp celebration of it unsettles.

Monumental. Villeneuve tells a familiar story with uncommon elegance and pensiveness, even dreaminess, on a breathtaking scale. A stunningly gorgeous, supremely dignified movie about ugly things.
Please watch this absolutely bittersweet and poignant short film about Devon Michael, a child star in the 1990s who was on the very shortlist to play Anakin Skywalker in Star Wars Episode I: The Phantom Menace…