Exploring Horror and Music in Sinners: A Unique Film Review

Hello, my dear readers. Are you in the mood for some horror? I certainly was last Sunday, when I watched Sinners.

Set in 1932 Mississippi, Sinners follows twin brothers Smoke and Stack Moore (both played with stunning nuance by Michael B. Jordan) as they return to their hometown with dreams of opening a juke joint and leaving behind their troubled pasts. They seem to have made it big, splashing their cash at the locals. And they have big dreams.

This period drama was the part of the film I liked the most. I love films from this period, and it was covering a part of the US that I had not witnessed before. It showed the harshess of their environment as they clung to existence.

Then the horror starts. Irish immigrant vampire Remmick shelters from Choctaw vampire hunters with a married Klansman couple, whom he turns into vampires. They are attracted to the Duke joint on its opening night.

One of the things that makes this horror unique is the use of music not just as accompaniment but as a narrative force. Blues sequences aren’t just evocative backdrops — they become conduits for emotion, cultural memory, and even supernatural influence.

There is a lot I like about this film, but the vampires’ behavior was erratic, making it seem too silly at times.

I give the film three stars out of five.

Galway Girls (Part 5)

I try my best to pull into one of the corners to avoid the surge of people while we wait for Sean to arrive.

“Do you want a vodka?” Ronan asked.

“I sure do.”

He knew the way I liked it, with an equal amount of orange thrown in as he took the few steps over to the bar to order.

A few moments later, I felt a firm hand on my shoulder. Instinctively, I know who it is.

“Hey Sean, you got here.”

He walked around in front of me.

“Indeed, that Ronan over there? Better tell him to order me a pint.”

With that, I was briefly alone again before they both came back.

These are the best of nights. Old friends and lively banter in a city I love.

After a few minutes, Sean pointed out that we should enter the gig area and get good seats. Always a good idea when one of the members of the group is in a wheelchair.

A tall dark-haired woman was checking the electronic tickets on people’s phones before stamping their wrists. She was at the narrow conjunction between the small bar area and the larger gig area where seats were already laid out in a much larger room with a higher area where comedians would enthrall their audiences.

However, I simply drove through.

Does she think like I do, that people in wheelchairs are invariably honest or is it that I don’t need to be stamped cause I stick out anyway?

Ah well, c’est la vie.