“Sinners”: A Triumph of Black Excellence Under Fire

Ryan Coogler’s Sinners (2025) has stormed the cinematic landscape, earning critical acclaim, a massive box office haul, and a place in history as the second highest-grossing horror film of all time. With a stellar 98% on Rotten Tomatoes and an unprecedented “A” CinemaScore for a horror film—the first in over 35 years—the film, led by Michael B. Jordan and a predominantly Black cast, is a genre-defying masterpiece. Yet, despite its undeniable success, Sinners has faced a peculiar wave of media scrutiny and criticism, much of which appears rooted in racism and discomfort with its unapologetically Black narrative and creative team.

A Cinematic Milestone

Set in 1932 Clarksdale, Mississippi, Sinners is a Southern Gothic vampire thriller that blends horror, historical drama, and blues-infused spirituality. Michael B. Jordan delivers a tour-de-force dual performance as twin brothers Smoke and Stack, who return to their hometown to open a juke joint, only to confront a supernatural evil. Directed and written by Coogler, the film features a powerhouse ensemble including Hailee Steinfeld, Delroy Lindo, Wunmi Mosaku, and newcomer Miles Caton, with stunning cinematography by Autumn Durald Arkapaw and a soul-stirring score by Ludwig Göransson.

Critics have hailed Sinners as a “masterclass in filmmaking” (Tessa Smith, Mama’s Geeky) and “one of the best films of 2025” (Matt Neglia, Next Best Picture). Its 98% Rotten Tomatoes score, based on 247 reviews, makes it the highest-rated vampire film in the aggregator’s history, surpassing classics like Let the Right One In (98%) and Nosferatu (97%). The film’s box office performance is equally staggering: debuting with $48 million domestically and grossing $63.5 million globally in its opening weekend, Sinners has climbed to become the second highest-grossing horror film ever, trailing only behind It (2017). Its $90 million budget, while substantial, has been justified by its cultural impact and financial returns, with estimates suggesting a break-even point between $170–225 million, a threshold it’s well on its way to surpassing.

The film’s success is a testament to Coogler and Jordan’s symbiotic partnership, which has produced hits like Fruitvale Station, Creed, and Black Panther. Sinners marks their boldest venture yet—an original, R-rated horror film that tackles themes of racism, ancestral trauma, and Black resilience in the Jim Crow South. Its genre-blending ambition, from bloody vampire action to musical sequences celebrating Black music, has resonated with diverse audiences, with exit polls showing a 38% Black, 35% Caucasian, and 18% Latino viewership.

Media Backlash: A Pattern of Prejudice

Despite its critical and commercial triumph, Sinners has faced a curious undercurrent of media criticism that seems disproportionate to its achievements. Some outlets, like The Wall Street Journal, have dismissed the film as thematically incoherent, arguing it’s “limited by the conventions of Marveldom”—a jab that ignores Coogler’s deliberate departure from franchise filmmaking. Others have nitpicked its pacing, claiming the slow-burn first half detracts from its horror elements, despite widespread praise for its immersive world-building. These critiques often feel like veiled attempts to undermine a film that centers Black stories and creators in a genre historically dominated by white narratives.

The media’s skepticism extends to the film’s financial prospects. Reports from sources like Puck have speculated that Sinners faces an “uphill box office battle” due to its $90–100 million budget, with some inflating the break-even point to an unrealistic $300 million. This narrative conveniently ignores the film’s strong opening—outpacing projections and outperforming Warner Bros.’ own A Minecraft Movie—and its potential for sustained earnings, especially given its “A” CinemaScore and positive word-of-mouth. Such framing echoes a broader industry bias that Black-led films are inherently riskier or less marketable globally, a myth Sinners debunks with its diverse audience turnout and $15.4 million international debut.

This pattern of scrutiny isn’t new. Posts on X, like one from @notcapnamerica, highlight Hollywood’s reluctance to greenlight Black-led films, citing the false narrative that they “don’t sell” or lack overseas appeal. Sinners’ success directly challenges this, yet some media outlets seem intent on moving the goalposts. Attorney Ben Crump’s X post celebrated the film’s $45.6 million opening as “proof that original, Black-led stories do sell,” calling out those who “downplay Black excellence.” The backlash feels less about the film’s quality and more about discomfort with its unapologetic Blackness—its refusal to cater to non-Black audiences or dilute its cultural specificity.

Racism and Resistance to Black Horror

The media’s reaction to Sinners reflects a deeper unease with Black filmmakers and actors thriving in horror, a genre where Black characters have historically been marginalized or stereotyped. Coogler’s film sidesteps the “trauma porn” trap of some modern Black horror, instead weaving a nuanced allegory about racism and spiritual freedom. As critic Angelica Jade Bastién noted in Vulture, Sinners communicates “magnificently to Black folks” on a register that mainstream horror often fails to reach, exploring themes like the ancestral power of Black music and the false promises of Northern migration.

This cultural specificity may be precisely what unsettles some critics. Unlike Jordan Peele’s Get Out, which explicitly framed racial commentary for broader audiences, Sinners prioritizes Black experiences without hand-holding. Its vampires, notably white, serve as a metaphor for white supremacy, a bold choice that some media outlets have downplayed or ignored. The film’s refusal to center white perspectives or soften its critique of Jim Crow-era racism likely contributes to the pushback, as does its celebration of Black joy and resilience through music and community.

The casting of Michael B. Jordan, a Black leading man with undeniable star power, and the direction of Coogler, the highest-grossing Black filmmaker ever, further amplify the film’s defiance of industry norms. Their involvement, alongside talents like Delroy Lindo and Wunmi Mosaku, signals a shift toward Black creatives owning their narratives in high-budget, studio-backed projects. Warner Bros.’ decision to grant Coogler copyright reversion after 25 years—a rare concession—underscores his clout, but it also makes Sinners a lightning rod for those resistant to Black filmmakers wielding such influence.

A Call to Celebrate, Not Critique

Sinners is more than a horror film; it’s a cultural milestone that proves Black stories can dominate the box office, earn critical raves, and redefine genres. Its high ratings and historic gross reflect a hunger for bold, original filmmaking that centers marginalized voices. Yet, the media’s tendency to question its profitability or pick apart its ambitions reveals an underlying bias that seeks to diminish Black success.

As Spike Lee and countless fans have proclaimed, Sinners is a triumph worth celebrating. It’s a reminder that Black excellence, when given the resources and freedom to flourish, can captivate the world. Instead of attacking the film, the media should amplify its achievements and interrogate why such stories are still seen as “risks” in 2025. For now, audiences are voting with their wallets, ensuring that Sinners—and the vision of Coogler, Jordan, and their collaborators—will endure as a beacon of what’s possible when Black creativity is unleashed.

Checkout some tweets we found on X: