Movie Review: Sinners (2025)

Genre: Supernatural Drama Horror Thriller  

Director: Ryan Cooglar  

Starring: Michael B. Jordan, Hailee Steinfeld, Jack O'Connell, Delroy Lindo  

Running Time: 137 minutes  

Synopsis: In Mississippi of 1932, twin criminal brothers Smoke and Stack (both played by Michael B. Jordan) return from a stint in Chicago determined to open and operate a juke joint for the black community. Their 17 year-old guitar-playing cousin Samuel (Miles Caton) is the star attraction, over the objections of his preacher father Jedidiah (Saul Williams). Old-timer Delta Slim (Delroy Lindo) and singer Pearline (Jayme Lawson) are the other recruited performers. Smoke reunites with his estranged wife Annie (Wunmi Musako) and Stack tangles with ex-girlfriend Mary (Hailee Steinfeld), but all seems to be going relatively well on opening night until evil personified in Remmick (Jack O'Connell) crashes the party.

What Works Well: Writer and director Ryan Cooglar conjures up an endlessly entertaining and imaginatively artistic wild genre mash-up, most reminiscent of From Dusk Till Dawn. While vampires, violence, blood, gore, and a high body count (all accompanied by a mean humour streak) dominate the second half, the more serious themes established in the opening hour underpin the mayhem. These include music as a cross-generational influence carrying enormous power, crime as a gateway to hell, and the lure of selling black culture to the wrong power brokers yielding decadence. Bathed in visual beauty and decorated by sensational musical numbers, the storytelling benefits from patient pacing anchored in memorable characters and a strong sense of time and place.

What Does Not Work As Well:  Although Michael B. Jordan is excellent, more could have been done to differentiate the twins. Mary's backstory suffers from neglect relative to her intended influence, and a Ku Klux Klan tertiary sub-plot is awkwardly bolted on. The value of the meandering ending is debatable

Key Quote:

Jedidiah: You keep dancing with the devil... one day he's gonna follow you home.



All Ace Black Movie Blog reviews are here.

Movie Review: Just Mercy (2019)

A legal drama, Just Mercy is a forceful exploration of a system designed to deliver flawed outcomes at the expense of the underprivileged.

In the late 1980s, Harvard Law School graduate Bryan Stevenson (Michael B. Jordan), who is Black, moves to Alabama to establish the Equal Justice Initiative, a law practice dedicated to helping wrongly convicted low-income prisoners. Initially, his only assistant is local human rights activist Eva Ansley (Brie Larson). They start investigating death row files, including the case of Walter "Johnny D" McMillian (Jamie Foxx), sentenced to death for killing an 18-year-old white woman. 

Bryan uncovers evidence of racism in the local justice system, including Black suspects receiving woefully inadequate legal representation, with District Attorney Tommy Chapman (Rafe Spall) and Sheriff Tate (Michael Harding) only interested in protecting the status quo. Bryan struggles to prevent the state execution of elderly convict Herbert Richardson (Rob Morgan), a Black Vietnam War veteran suffering from PTSD. But he does find the entire case against Johnny D hinging on the dubious testimony of criminal Ralph Myers (Tim Blake Nelson), and doggedly sets out to secure a new trial.

A biography based on Steveston's 2014 book, Just Mercy successfully combines outrage with persistence. Director Destin Daniel Cretton co-wrote the screenplay with Andrew Lanham, and exposes an entrenched legal process reeking of racism and satisfied with executing Black men as a proxy for actual crime-solving. The film carries Stevenson's quiet authority like a beacon of light through the sewer, startling rats with audacity.

The positives are potent. Stevenson standing up to District Attorney Chapman is a demonstration of invasive courage confronting obtuseness. The textured side-story of elderly inmate Herbert registers as a front-row seat to contaminated justice. And the two central performances are sturdy. Michael B. Jordan adds the essential trace of self-doubt to Stevenson's fortitude, while Jamie Foxx conveys resignation sparking into hope when his new lawyer actually takes the time to get to know the McMillian family background. 

Some weaknesses in structure and narrative emphasis do emerge. The 137 minutes of running time are marginally excessive, Cretton seemingly intent on chronicling every legal step and meeting. Despite the length, the murder victim and her family in the Johnny D case are entirely ignored, a case of righting one wrong but also diminishing the original tragedy. The Eva Ansley character played by Brie Larson fades in significance after a promising start.

But as obstacles are piled in his path, Steveston boldly goes straight to the source in the form of flawed and only witness Ralph Myers. Here Tim Blake Nelson emerges squinting into the neon light, inhabiting an unforgettable performance full of pitiful opportunism. Jordan and Foxx are excellent; Nelson is a deliriously twisted mess.

It takes a while for the drama to move into the courtroom. Once there the scenes are effective but also relatively routine, although the ability of local judges to embrace rot remains astounding. Deploying facts to counter farce, Just Mercy shocks with dignity. 



All Ace Black Movie Blog reviews are here.

Movie Review: That Awkward Moment (2014)

A raunchy romantic comedy, That Awkward Moment follows three guys on the relationship rollercoaster. Despite a bright cast, the film sputters.

In New York City, Mike (Michael B. Jordan), Daniel (Miles Teller) and Jason (Zac Efron) are twentysomething best buddies. Daniel and Jason are book cover artists and enjoy commitment-free relationships with women, while Mike is a doctor who seemingly has it all. But his marriage to Vera (Jessica Lucas) suddenly disintegrates when she confesses to an affair and demands a divorce. 

In solidarity Daniel and Jason commit to refraining from entering any serious relationships but both are soon falling in love. Jason meets author Ellie (Imogen Poots) and after a rocky start they evolve into a couple, while Daniel develops feelings for Chelsea (Mackenzie Davis) who is supposed to be just a friend with benefits. Meanwhile Mike is desperately trying to repair his marriage to Vera.

Featuring a talent-rich cast, That Awkward Moment fails to provide material to match. Director Tom Gormican also wrote the script, and he is firmly stuck in bathroom-level humour where body parts and body functions have to be part of every joke. Some of the humour works and a few laughs are generated, but the overdose of repetitive profanity, bro-level ribbing, insults hurled at the end of every sentence and pure immature behaviour is quickly more tiresome than funny.

The title refers to the pivot point in a potential relationship when a woman wants to know what the future holds, a moment of doom for commitment phobes like Jason and Daniel. But here all the romance elements are contrived, and it remains a mystery why women such as Ellie and Chelsea would ever fall for a couple of douchebags like Jason and Daniel, who luxuriate in their aversion to genuine caring.

The sex scenes are plentiful but short and played for giggles, and at least That Awkward Moment aims for equal representation of coupling as a tool useful for both genders to spice up the single life.

The film clocks in at 94 minutes but feels longer. All the expected relationship ups and downs due to miscommunication and mismatched expectations are triplicated, but three times tedious is still tedious.

All Ace Black Blog Movie Reviews are here.

Movie Review: Fruitvale Station (2013)

A biographical drama inspired by real life events, Fruitvale Station tracks the final day of Oscar Grant III, the young black man shot dead by San Francisco transit police officers on New Year's Day 2009.

It's New Year's Eve, and in a suburb of San Francisco Oscar (Michael B. Jordan) is a 22-year old black man struggling to find his feet as an adult. He was recently fired from his job at the local supermarket, but kept that hidden from his long-time girlfriend Sophina (Melonie Diaz), the mother of their young daughter Tatiana. Oscar dabbles in dealing drugs, which has landed him in prison in the past.

Nevertheless, Oscar is determined to do better. He has an honest conversation with Sophia, and helps plan a birthday celebration for his mother Wanda (Octavia Spencer). He has an opportunity to make money through a drug sale but walks away from it. He also maintains a warm relationship with his grandmother. Determined to enjoy the New Year's Eve fireworks celebration with friends, Oscar and Sophina head into town on the transit system, but tragedy awaits on the return trip.

The feature length debut of director Ryan Coogler, who also wrote the script, Fruitvale Station is a quiet revolution. Going behind the headlines of yet another police shooting of yet another black victim, the film reveals the humanity in every life. Before Oscar was senselessly killed by a police bullet he was a young African American man trying to straighten out his life, and he mattered to his daughter, his mother, his girlfriend, his grandmother and his friends.

The film is remarkable for its unremarkable yet nimble content. Coogler rounds out Oscar and his environment with a minimum of fuss and a series of efficient yet effective scenes, Michael B. Jordan an agile and sleek presence in the stark and featureless suburban milieu. Coogler drives home Oscar's identity within a smoothly understated narrative, based on real events but also including some fictional imaginings.

The film can be excused for portraying Oscar in the best possible light, but his faults are still on display. He was an ex-convict, a small-time drug dealer, often late to work when he had a job, possessed a temper, and a tendency to cheat on Sophina. He also cared deeply for his family and friends, talked about becoming a better man and accepting responsibility for his decisions, was clever and funny, and showed affection towards strangers. And at just 22 years old, he still had plenty of opportunities to turn the necessary corners, given the chance.

Instead he received a police bullet in his back while lying helplessly prone on the floor. Coogler starts the film with actual phone camera footage of the confrontation at the Fruitvale Station platform, and ends with an in-depth recreation, filmed at the same location. The speed with which inept Bay Area Rapid Transit (BART) officers allowed the situation to spiral out of their control is stunning, the officers missing every opportunity to de-escalate.

As demonstrated by Fruitvale Station, there was absolutely nothing exceptional about Oscar Grant's last day, except that it should have never been his last day.

All Ace Black Blog Movie Reviews are here.

Movie Review: Creed (2015)

A boxing drama and a Rocky series spin-off/sequel, Creed succeeds in rejuvenating the franchise by elegantly calling on the past to inspire the future.

Adonis Creed is the son of former heavyweight boxing champion Apollo Creed, who famously gave Rocky Balboa his initial title shot. Adonis is the product of an illicit affair and was born after Apollo died. After stints in juvenile detention centres and foster homes, Adonis is adopted by Apollo's wife Mary Anne (Phylicia Rashad) and receives a privileged Los Angeles upbringing. But boxing is in his blood, and in his early twenties Adonis (Michael B. Jordan) gives up his comfortable life and moves to Philadelphia, where he seeks out Rocky (Sylvester Stallone), now a restaurant owner.

Initially reluctant, Rocky eventually accepts to coach the son of his former rival and friend. Adonis also meets and starts a relationship with singer Bianca (Tessa Thompson). After one bout Creed's name recognition earns him a shot at "Pretty" Ricky Conlan (Anthony Bellew), the tough Liverpool-based light heavyweight champion. But the preparations for the bout are hampered when Rocky receives unwelcome news, and has a fight of his own to contend with.

Directed and co-written by Ryan Coogler, Creed is ostensibly the seventh entry in the Rocky franchise, but can more appropriately be considered the start of a new story. About forty years after the first film, the next generation steps to the fore, and Stallone (who co-produced) finally latches on to a worthwhile follow-up central character. At over 130 minutes the film is longer that it needed to be, but features enough character-driven highlights augmented by echoes of the past to sustain momentum.

The underlying themes are of course familiar. Adonis Creed is dealing with unresolved issues related to never knowing his father and wanting to be his own man, and he goes by the name Donnie Johnson to try and carve out his own legacy. But his raw boxing skills create an unmistakable bond to Apollo, and Adonis' journey is about resolving what and who he fights for. Michael B. Jordan's brooding performance contains more than enough humanity to make Creed's growth a worthwhile arc.

Part of growing up is positively influencing others, and the connection that develops between Creed and Rocky is a large part of the film's appeal. The relationship contains both surrogate father-son and coach-boxer elements, but goes farther, Creed finding the opportunities to demonstrate his rise and development outside the boxing ring.

Rocky is the grizzled inspiration, mentor and channel to the past, and Sylvester Stallone delivers some of his career best acting in the role he is most familiar and comfortable with. It is a pleasure to witness the Rocky character embracing twilight and gracefully accepting the weight of all the accumulated pain and joy of a life well lived.

In keeping with the better installments of the series, the actual boxing scenes are relatively few as the film builds to the final climactic showdown between Creed and thuggish champion Conlan. Not unexpectedly the boxing action is of the non-stop slugfest variety that barely resembles the real thing, but this is Hollywood.

The upstart son of a former champion will need to create his own legend in the ring. Creed is a good start, with doubtless many future rounds to follow.

All Ace Black Blog Movie Reviews are here.

Movie Review: Black Panther (2018)

A groundbreaking superhero movie, Black Panther is one of the finest examples of what the genre is capable of, with a rich story and a multitude of characters carrying far-reaching resonance.

The isolated African country of Wakanda hides behind a veil of poverty while enjoying prosperity and advanced technology afforded by Vibranium, a mineral deposited by an ancient meteor strike. As well, a heart-shaped herb provides supernatural Black Panther combat powers to the country's selected ruler. T'Challa (Chadwick Boseman) rises to King of Wakanda when his father is assassinated. He reunites with his mother Ramonda (Angela Bassett), elder statesman Zuri (Forest Whitaker), and ex-lover Nakia (Lupita Nyong'o). The fierce General Okoye (Danai Gurira) is in charge of the all-female security warriors, while T'Challa's sister Shuri (Letitia Wright) heads up the technology advancement labs despite her young age.

W'Kabi (Daniel Kaluuya) leads the border tribe, one of four clans united under T'Challa, but M'Baku (Winston Duke), the leader of the Jabari Mountain Tribe, chooses to remain isolated. The new king is immediately confronted by a threat. Black market arms dealer Ulysses Klaue (Andy Serkis) teams up with the mysterious Erik "Killmonger" Stevens (Michael B. Jordan) to try and sell stolen Vibranium to undercover CIA Agent Everett K. Ross (Martin Freeman) at a rendevouz in South Korea. T'Challa, Nakia and Okoye intervene to try and reclaim the precious mineral, triggering a potentially catastrophic series of events carrying echoes of decisions made by T'Challa's father in years past.

With black director Ryan Coogler at the helm, an almost all-black cast and a predominantly African setting, Black Panther is a bold step forward in the Marvel Studios cinematic world. But remarkably, the brave new racial frontier is only one of the film's many spectacular successes. Black Panther creates the most compelling fantasy world since the original Star Wars, and a fertile plot teeming with interesting characters and events. The script, co-written by Coogler and Joe Robert Cole, soon asserts itself. The story proudly takes centre stage, and several themes intertwine across the screen, connecting Wakanda's fantasy with current realities. The film's genius resides in debating with searing honesty pressing and relevant societal issues.

A central theme is an advanced country's role in the family of nations. Wakanda has always prided itself - and thrived - on a policy of isolation, looking inwards to the prosperity of its own people and disengaging from the rest of the world. T'Challa is challenged with three options: maintain the status quo, export technology to promote weaponized conflicts, or find a way to engage peacefully. Each potential choice comes with risks, and the film presents a well rounded view of all the justifications.

The black experience is tackled from two fronts. Black Africa's hidden potential to positively contribute globally is presented as an intriguing future state, while the appropriate response to the historical and current mistreatment of blacks in the United States and indeed around the world is the key grievance driving the film's antagonist Erik Stevens.

The sins of the father haunting future generations gradually emerges as a powerful thread unting T'Challa and his resentful cousin, who steps forward from the shadow of history seeking to right old wrongs. The film distinguishes itself by bringing the conflict to Wakanda itself, the struggle between good and evil presented as an internal conflict for the soul of a country .

All the plot elements provide opportunities for the many characters to shine, and Black Panther introduces an extraordinary number of memorable people, most of them women. While T'Challa hovers the near the middle of all the intersecting ideas, General Okoye, Nakia and Shuri emerge as his closest allies and confidants, and Coogler provides each with a worthwhile personality.

All of which leaves the superhero elements as the cherry on the cake, a natural embellishment to the film rather than its reason for being. Black Panther does not disappoint when the time comes for special effects and stunts, although the breathless chase scene in South Korea outshines the final triple-headed climax. The right dose of dry wit and a sprinkling of high-tech gadgets add a layer of gloss.

Smart, engaging, and relevant, Black Panther sets a new standard for superhero achievement.

All Ace Black Blog Movie Reviews are here.