Episode 25: "SINNERS" feat. Misgana

SPOILER ALERT: Episode contains key plot details from SINNERS. Jive along with TCA to the tune of Ludwig Göransson's phenomenal score as they delve into "the most talked about movie of 2025." Misgana returns to dissect Ryan Coogler's latest vampire masterpiece set in Jim Crow-era Mississippi Delta. They cover the significance of that opening sequence (12:45), their appreciation of the cinematography (20:10), Coogler's analysis of race relations (30:15), and some [valid] criticisms of the film (41:05). TCA closes out discussing THAT scene that serves as the crux of the film (56:25). TCA Verdict: 9.2/10.

Transcript

Hey, guys, welcome to another episode of The Cinephile's Aisle, here with Misgana and Steve.

How's everyone doing?

Welcome back, Misgana.

I feel like it's been forever since we had you on.

We've missed you.

I know, right?

I know.

I've been a good listener to the previous episodes, and I wanted to come back home, so I'm glad to be here.

Appreciate you, as always.

Great to have you back.

That's amazing, that's amazing.

So, yeah, talking, very big episode for us.

This one might be the one that is a video that might be on YouTube.

We're still working on The Kings, but love you guys for requesting more video.

So to kick us off, we're going to do something a little bit fun.

What I'm going to do is I'm going to list, I'm going to name a movie, and somebody has to follow up with a better movie.

Okay, so we're going to be focused on Sinners, of course.

So we're going to do black movies, and maybe movies that have some cultural heritage, or maybe we argue if this is a black movie at all.

Okay.

Okay.

Okay.

First movie I'm going to go with is Madam Black.

Oh, I don't think that's a black movie.

You don't think Madam Black is a black movie?

I feel like Madam Black is a very black movie.

Okay.

Creed.

Creed is better.

I will say, well, Tenet is not a black movie, but I'll say Tenet.

You say Tenet is a black movie?

Because, you know, The Washington is in there.

I don't know what his first name is, but.

Crazy.

Okay.

Friday.

Isn't that like the classic?

That's like the big one, right?

Like how are we supposed to top that?

I feel like I have like one more.

I will say the, I forgot the name of the movie.

Spike Lee, Right in the Wrong, right?

Something.

I actually.

I'm not going to tell you the name of the movie.

Spike Lee, 1998.

Spike Lee.

Are you bowing out since you can't remember the name?

No, I'm not.

You're getting disqualified.

Do the right thing.

What do you think, Philly?

Do the right thing.

I'm going, since you're going to do the right thing, I'm going Boys in the Hood.

Really?

Sad ending?

Sad ending, but great movie.

Culturally, I'll think.

You feel like comedy and then, okay.

Absolutely.

I feel like Boys in the Hood definitely has more of a cultural impact than Do the Right Thing.

Okay.

Yeah.

So it's not just better film.

It's not just better film.

It's also cultural impact and all of that.

I mean, cultural impact also a better film most times.

Okay.

Do the Right Thing has cultural impact.

But not as much as Boys in the Hood.

I'm so sorry.

Because it was not well known.

That's what we're talking about, cultural impact.

Well, sometimes a better film is more known.

Being well known is kind of the prerequisite for cultural impact.

If it's not well known, then it doesn't have cultural impact.

Okay.

I feel like the movie that Tyler Perry did where the three girls, he killed the three kids, he threw them out of the building.

Michael Ealy.

Oh, I mean, that one was not a great movie.

It was traumatic.

Yeah.

So it was memorable.

It's memorable because it's traumatic.

Right.

I still think that one is no where in here as popular as Boys In It.

I feel like among the black community, I would say they're very similar.

Misgana, what's the name of the movie right now?

I actually don't.

You have to put me in the spot like that.

Okay.

Next, next, next.

No, we're good.

We're good.

Just a little warm up.

So that's good.

So now guys, we are here to talk about the most anticipated movie or I guess I must talk about it again, recent times in horror among black directors around directors in general of 2025.

Thank you.

2025.

I really hate that they've been doing that whole, this is by a black director, the most successful one in the last 20 years.

Director, yeah.

Yeah.

Why do we have to specify?

Well, no, it's not a racial thing.

He's just a good director.

Yeah.

It's incredibly inductive.

But welcome to our episode where we talk about cinemas, what we loved, what we hated, and the critiques and the conversations that we're seeing on the timeline and our reactions to that as well.

A big note to previous episodes and what we've all discovered is people still don't know how to watch movies.

Bro, I'm glad you said that.

I'm so glad you said that because I go on Twitter.

I go on Twitter.

It feels like for some people, there's the people that are movie goers.

They go to the cinema and they take away what the filmmaker wants them to take away for the film.

There's other people that treat these things as events rather than art to be enjoyed.

They treat when a movie is released and they go there, they plan to have this time and then they come out and they're spewing things that had no, these things were not from the film at all.

These things that they're coming up with were things that they thought it was about because they treated that stuff like a party.

They treated it like, oh, this fun time at the cinema.

So they're saying things on Twitter, standing by it in your head.

It's like, whoa, you just made that up.

That was nowhere from what Coogler was saying at all.

You know what I mean?

So people don't know how to watch films.

That's actually true.

This is why I'm not on Twitter and this is why I do not look at movies.

TikTok too, TikTok too, like they go there and they're like, here's one thing you may have missed from Sinners.

And then they start talking about it and you're like, no, I did not miss that you literally came up with that.

You just made that up.

Like, that was the thing, you know?

I love the do not, I'm not interested button.

I use it very religiously.

So I haven't seen any critiques on the movie.

I've been such a blocker.

God, as you should, I think I've always been a blocker, but this movie just made me block so much.

I was like, what is going on?

I have blocked a multiple people that were just like, I had to walk out of the movie theater.

Exactly.

That one.

Those people and the people that were like, the Lord told me that this movie is not good.

Okay.

But the Lord told you to read your Bible and you haven't opened yet.

So what does that mean?

Another thing is I saw a few, because full disclaimer, I literally just watched the film.

I was the last person in the entire world.

It feels like everybody in the whole world.

Sorry.

Steve has turned from cinephile to movie goer.

I am a retired former cinephile, unfortunately.

But anyway, so because I did not see for many weeks, I kept seeing like a few people saying, oh, I didn't know it was a horror, so I left or, oh, I wasn't expecting it to be scary.

And so I was actually like preparing for a horror, like a proper horror, horror.

And like an hour in, I don't even think it was until the third act that the film gets somewhat scary.

But even at that time, it wasn't like a jump scare.

I feel like I was just at all.

You were acting like there were spirits conjuring things happening.

No, you are okay going to see conjuring, like movies that are actually like spirit led.

And you sit and you watch back and Sinners is so horror and so wrong.

When they mean horror, did it just mean a whole bunch of black people running around?

Because I struggled to see where the horror was from.

I think it's blood.

I think it's blood and it's family.

Yeah, I think it's the blood and the gore sometimes.

Yeah, I mean the cornbread scene was a little bit jump scare.

The one when he pulled his hand.

Okay.

It was a little bit of jump scare.

I feel like they were, they prepared you for that within the dialogue.

Yeah.

Yeah.

And we had just seen what, well, had we at that point seen what happened?

Yeah, we just saw what happened to smoke.

I mean, sorry, Stack.

Right.

Yeah.

So like we knew that that could happen.

Can I ask you that something?

How were you guys able to tell who was who?

I want to see if we're at the same.

Red and blue.

I was going to say, yeah, red and blue.

Okay.

I think Stack also had a goatee.

Stack was also around his octave room.

You know, that man did not leave that woman's sight.

You know, he tried to erase, he came back.

I love that obviously, obviously this was intentional, but I love that Coogler for the first like, you know, 20, 30 minutes, he kept like making their co-actors say their name.

So like if Stack is having a conversation with someone, the person would say Stack while talking to Stack or Smoke, you know, I like that.

So that was, I was able to follow along.

But then obviously you have to dead that at some point, which he did.

So I'm like, ugh.

But then I noticed the blue and red and I came up with, this might sound mathematical, but because blue, the letter B in blue comes with the letter R in red, and it's S M S T M comes with a T.

So I was like, blue smoke, red stack.

Does that make sense?

That sounds more dramatic.

Yeah, it sounds like I'm doing a lot, but that was the only way I was able to follow along.

I think you're absolutely doing a lot because-

Right.

But for the rest of you, if you like it-

I think quite honestly, this was even easier than Mickey 17.

No.

17?

17 looked like, I don't want to say clown, but he looked like a child.

18 looked like-

He sounded like a child?

He also physically, like physically-

You just have bad posture.

Don't do that.

You just have bad posture.

Okay.

My bad.

They both look the same to me.

I just try to make my best estimation.

Yeah.

I think Smoke and Sack, this is another episode where we talk about, it's the year of the doppelgangers, year of subservient.

Yeah.

And I get in this case the character's actions, we're meant to see them as two different characters, but the performance of parent trapping just the same way was just fucking amazing.

Because I truly feel, and this is why I'm confused with what Steve is saying, I feel like you can tell who they are because of how different their personalities are.

Without the matter of speaking.

Also, I think Stagg has like grills, he has like a gold teeth or something.

Yeah, he does.

Come on.

Why bad?

Okay.

Like these two teeth, like they, he had, come on now.

I'm so sorry for not being able to tell two black people apart.

You need to focus on the details.

Yeah, I apologize.

I will not do that again.

No, I think I definitely agree.

I think Michael and also Ryan did a great job in terms of like, you know, that they had to carry like a 360 like camera.

Have you guys seen the?

I thought it was on a dolly.

Was it a dolly?

Yeah.

No, I thought it was on like a technical dolly that, maybe there was a different one that's big that they had to carry, but I know for a lot of the scenes, specifically that, so apparently the most technical scene, we're jumping ahead, but the most technical scene was a scene where Stac grows a seed and passes it off to smoke.

Okay, I could believe that.

I could believe that, yeah, yeah, yeah.

Because-

They normally don't interact, like in Parent Trap, they don't actually interact.

Whenever you have like the doubles together, yeah, it's really hard.

So having them pass something like so small, so subtle, you have to really mash the keys and that's what they were talking about.

Yeah.

Apparently Michael also directed his body double into like-

Oh, okay.

Placements and stuff like that.

That was really interesting.

But jumping into our analysis of the film and how we see the film, I want to start from like opening shots.

What was your-

how did you feel?

What did it seem like to you?

First impressions of that opening shot, how did that set the tone for the film?

Because I think that opening shot was Sammy Pick and Cotton.

Wasn't it-

wasn't it-

wasn't it him running into the-

Oh, yeah, it was him driving-

was it driving in?

Yeah, he was driving into the church.

Yeah, he was driving into the church, my bad.

I remember so clearly.

I loved it as a film, like a canister film lover and like media format and IMAX format that he did.

I was really impressed.

A lot of people that I've talked to didn't like the aspect ratio changing from like super wide to like super thin, like the 35 millimeter and the 70 millimeter.

I loved it.

I thought it was cool.

But overall, I think the beginning scene, I also watched the Warren brothers, like 30 minutes video of him talking about like his shots and like the film that they used and whatnot.

And I was really impressed.

So I loved it.

I thought it was cool.

It was a grab on.

You're curious what's happening and you didn't know like what's next.

It was a great, I think he took like the White Lotus kind of vibe of like something happens.

Oh, okay.

Okay.

Okay.

Okay.

I enjoyed it a lot.

Fair enough.

Fair enough.

I think he's done this, he's done that before because I think his film, his Black Panther film actually starts with Killmonger and the thief guy, like killing some people in, what do you call it?

Like both-

The first one?

The first one starts with Killmonger rubbing the British Museum, right?

The film even introduces who Killmonger is and all of that.

It starts with the rubbery and them killing and the Wakanda, like we see the vibranium or the purple thing in his mouth or something like that, before you even understand that.

Then I think the second one starts with the father's killing.

But anyway, it starts with the history of Killmonger and his uncle and stuff like that.

But my point is, I like that it set the scene, it set the tone for the film.

Because you don't know where it's going, after that scene, it goes back to the stacks, Sammy and Stack, sorry, Smoke and Stack, just being normal.

And in my head, subconscious, I'm trying to tie, okay, how is this going to tie back to that?

Now I'm expecting something violent to happen, right?

But I don't know how we're going to get there.

So it's just something to look forward to and keeps me involved in it.

Cinematography-wise, I may be wrong, but I don't think my theater switched aspect ratios.

I felt like it was...

I think if you watch it in IMAX, like, if you watch it in 70 millimeter, I don't think it will change because they filled the entire screen.

Yeah, yeah.

Well, like, Brutalist, when I watched it, they, like, there were, like, the 16 millimeter and then they had the 35 and the 70.

But if you watch it in just regular IMAX, it changes.

I don't know about, like, Laser or...

Mine was regular 2D.

It was just regular, like, a regular Cinephile.

Because you guys want to watch it.

And so I think it was just 1.431.

I think it was just a regular.

But, yeah, no, I like the, I thought, like, even with the, again, quote, unquote, regular, you're still able to see this cinematography.

You're still able to see the...

.

the EP's vision, you know, come through.

And with, hate to be, you know, blackity, blackity, black, but just know when filmmakers know how to shoot black people versus when they don't know how to shoot black people.

Because even with, like, in some scenes where they're taking out the light, the lighting, or, you know, when it's so bright, like, you're still able to see the person.

It's so small, it sounds so basic, but sometimes you can't see their face.

Like, you can't see, the way the light interacts with their skin is obviously different from the way it interacts with the white person's skin.

And sometimes, you know, they miss that tiny aspect.

But in cinemas, right, at all points, I'm able to see their face.

There is balance.

It just makes me feel good.

Because it's film, you have to expose it as the right lighting, and you have to make sure, like, the people who are not, who are lighter skin tones are not going to be white when it's being developed.

And when it's people who are dark tones, like, they're not being dark or whatever in comparison to their counterparts.

But I think it was cool.

What do you think, Ophelia?

I felt like that.

I think the experience for me, like, Steve, I was watching a record theater.

I could not be arsed to go to.

I'm like, I'm so sorry.

Shout out to that man.

I feel like it would have been a cool experience.

Heard a lot about it.

It would have probably made the experience slightly better, but still, I still had a good time.

Yeah.

Opening shot for me was really good.

I like, okay, so I think Steve mentioned something about like Black Panther and Black Panther 2, where like you're kind of just dropped.

Black Panther 1, you are kind of dropped at something that's like a flashback.

Black Panther 2, you were dropped in the middle of like, again, another contextual situation where, you know, it feeds to the later story.

Here, very much, I think Misgana's right, it's more aligned with the Black Mirror, sorry, not Misgana.

White Lotus.

White Lotus, who said that?

Was that Misgana?

It was Misgana.

Yeah, more aligned with the White Lotus thing.

Slightly, okay, so the thing is, White Lotus drops you at the...

The writer shit is popping off.

Yeah, the The writer shit is popping off somewhere else.

I think this was, I think this was great for me because immediately I knew it was, this is a long night.

This is a night.

Yeah.

Yeah, and this is completely cool down.

The resolution.

I wouldn't completely call it the resolution, but this is a cool down period where, like you ever have like a long day at work and bro, you just like sit in your car for like eight minutes.

Yeah.

You don't want to fucking move.

This is that for you.

This was that.

I was like, yeah, this niggas, he's been through it.

Yeah.

He's been through it.

No, when his dad was like, drop the guitar and claim your place.

I was like, damn, something happened.

At that point for me, I was just like, damn, here comes the religious trauma.

I was like, that scene just really set up the movie.

I said, I knew there's going to be a shit ton of critiques about religion from this film and the impacts of religion.

I'm gonna see how it's done.

Okay, so I really enjoyed how the film set it up from it being essentially kind of a spectacle offer.

Yeah, fair enough, fair enough.

The next thing we're gonna go into, I guess like, what shots really stood out to you guys in general?

What did you like?

I know we had some people glazing Brutalist, crazy, talking about the train looked so good.

I was like, I don't know.

I feel like you said that, dude.

I'm looking at it like.

The guys were like, oh yeah, Statue of Liberty looked great.

They lived in New York.

I thought you did look great, man.

I don't know what you all knew.

They saw the Statue of Liberty almost every day.

And they're like, oh my God, it looks so great.

So let's let's let's hear, come on.

Resident Glazer.

Since you're the one that recently watched it.

This is what I'm used to, man.

Resident Glazer.

Okay.

Well, okay.

I liked a few shots.

I have to think now, but obviously the one that everyone loves, the big one, the dance or the singing and the dancing when they're in the juke joint.

And I think even before we get to Sami's voice, right?

There's a scene, there's a shot where there's a scene, right, where the white woman, I forget her name, Haley's character is talking to Mary, Mary, Mary, Mary.

There's a scene where Mary is talking to staff, right?

And the camera focuses on both of them.

And everyone else is blurred out.

And the music, yeah, yeah.

Everyone else is blurred out, but that's not when they're dancing, they're talking, they're just conversing first of all.

Oh yeah, but like everybody else.

Everybody else is, everyone around them is dancing.

And the music, Göransson is a genius, man.

That's Swedish Viking, he's so amazing.

He like takes out the music and it's just scoring.

There's no like actual soundtrack being played, it's just scoring it.

And like you're like fucking focusing in on them, like the camera is focusing on them.

And just like, oh my gosh, what is going on right now?

Like how are we taking away this focus?

You know what I mean?

Because that's when they're professing their, did you want me to tell you that I loved you, that I thought about you every day and all of that.

Like that's when they're having a conversation.

And you just feel the realness that's coming from both of them.

And then right as soon as like staff finishes talking, like a tear drops out of Mary I.

And I just did that Scorsese meme where he's like cinema.

I was just like, you got me.

And then right now we go to the history of music.

Let's pause on that, let's pause on that, because we got problems.

We'll ring through that.

We'll go back to that.

Misgana, what about you?

I don't know if anything stands out, like one scene specifically, but I did enjoy like the train, just the train scene overall, like Mary approaching and then.

I'm so amazed, like most of it was done in one shot.

There was no like cuts or anything.

And I think it's really hard to do it on film, and the fact that they did it so well, I was really impressed.

But nothing really like stands out.

I actually like the driving scene that they had, picking cornbread up and then just driving, them playing music.

I enjoyed that because it was a long drive.

And then the clouds, because Stac, right?

Or something.

I think Stac was like the clouds and he was telling a story.

And I was looking at the clouds and I was like, damn, we had to shoot this like, at a perfect day, at the perfect time, and things have to be right.

I was just really impressed on production itself and how much effort that they put in.

And even though the movie is like under 12 hours or 24 hours of what things played out, you had to very be strategic about everything.

And it was really beautiful to see.

Yeah.

For me, I think what it means is the two things that really got to me.

And I think I talked about this first scene in my letterbox review.

And it's everything about both how this film, like this scene is shot.

That's what Ludwig does with the score.

And it's when Delroy is telling a story about his friend, about how he got picked up by police.

And where, you know, they were made to perform.

Police made them go to, like, these white people.

And, you know, they made a shit ton of money.

He drank all his money.

His friend was going to go buy a store or something.

And, you know, going back to Arkansas, some shit like that.

And then he got found out.

He got found on a bus, ticket inspector, white people said he stole that money from, like, you know, he killed and stole the money from, like, some other white person.

And then the, he's being told, he's kind of just narrating.

And, you know, like, as a story, the shot is really beautiful because it, like, closes in a little bit as it gets sadder.

Blurs the background a little bit as it gets sadder.

As he gets to the part where he's talking about the lynching, you can damn near not see anything else, one, and two, while he's, like, you can literally see him, like, reminiscing about how sad the situation is without crying, without any overly dramatic acting.

You can just tell how tired he is.

Yeah.

And two, Ludwig, for fuck's sakes, of the drama.

He's playing the sound of the crowd forming, gathering, beating him, and lynching while he's talking.

And I'm like, that was insane.

Yeah.

That would be fucking.

Yeah.

I think, I think, I think Ludwig, man, like, obviously, again, I have to let the film sit with me.

And I feel like I've talked about him at least a couple of times.

We went on a whole thing with Oppenheimer and Black Panther as well.

But this is, I'm not saying this is best work, right?

I'm not saying that.

But I think a lot of, a lot of this film is about music.

Like, I'm going to take the plot as secondary.

Even the acting, as good as it is, that's still secondary for me.

This, this film is in many ways, a love letter to music, man, because of Ludwig.

I don't know what he's doing or where he's pulling some of these inspirations from.

But what I know is that Coogler and Göransson worked together to create something that was very, very, very beautiful to listen to, you know what I mean?

Yeah.

Strip everything away and just listen to it.

It was very beautiful.

People were saying that they didn't understand, they wanted subtitles and things like that, even though common and ordinary English that is being said, you know how different it is, how well they had to prepare for that.

For people from Mississippi or the South, it sounds very normal, but for people who live in the North or whatever, part of the country or wherever part of the world, they're like, what English is this?

They did it really well.

Even the singing was really well.

It was not like, you know how British people sing and you're like, you're American?

But it didn't sound like that.

It was very sounding like country, very sounding like South, except the Irish people.

I think it was really funny, the comments about the accents or like, oh, we can't hear what they're saying.

I'm not going to lie, Delaware was cooking.

I could not hear everything.

I had at one point, I had to be that mean, that sit up.

You know, you can't relax, you got to sit up a lot of kids.

So I'm not going to lie.

Yeah.

Right, a little bit of wonder, we're saying, but I think you just had to like, get used to it kind of.

Yeah.

It's kind of like when you're in a house and like the lights off, you know, your eyes are going to adjust.

You just have to, yeah.

Yeah.

It has to be okay.

It's going to adjust.

This is not as bad as like, fucking, what's that movie where like Channing Tatum is like, has the Cay, the Creole accent or the Cay.

He's speaking like a Cajun, like straight off Cajun.

Deadpool?

Yeah.

It's Deadpool, I think.

Well, I don't know if it's Deadpool, but yeah, it's Deadpool and Wolverine.

Yeah, yeah, yeah, yeah.

Yeah.

I wasn't like, God damn, bro.

Like that was, that was something.

I didn't hear anything that whole, you know.

But just before we move on, your point about the monologue, I feel like, I feel like a monologue, right?

It's such a cheat code, like something like that, something monologue because like if you're a good actor, if you're able to hold your own, right?

It's like we're giving you bro, just cook, right?

Do your thing with your visual expressions and your dialogue.

But then every now and then, there's one that comes along that's just so good.

And with the way that the filmmaker shoots it, which is kind of what you're seeing, like the sound and the lighting and camera literally being another character in that quote unquote monologue.

I think this is one of those, like not to be, not to say another White Lotus reference, but the White Lotus, I think it was episode five, when the guy is talking about the lady boys in Thailand and he was talking about how he wanted to be.

Has no one seen that episode?

No, I know you've spoken about it.

Okay.

This season, this season, yeah.

I forget the actor's name, he's very popular.

He was in Argyle, he was in Argyle.

The guy that was in, yeah.

But anyway.

I was thinking like Mr.

Wright.

He was the question for like two days ago on Movie Pyramid, I remember.

Yes, yes, yes, yes, yes, yes.

But anyway, he's given a monologue about like, I don't want to say because it's very nutty for work, but he's talking about ladyboys basically, and on and on and on.

And the camera is kind of like being another character in here.

And by the end of the conversation, in this case, in Delroy's case, you were very, very sad.

Like I felt his pain through screen.

In the White Lotus case, I felt like, what the fuck have I just listened to?

You know what I mean?

But the point is whatever monologue, like whatever you're given, if the actor is able to like take you there, right to the end of it all, so really, and I feel like Delroy did that really well.

He did, he did.

Thinking as well, I think I want to point out, little somber note, or more funny, another really great scene for me, I think two things also, people don't talk about how funny this movie was.

It was.

Like people don't talk about how funny it is.

It's a lot of big pieces, but it's not enough about like genuine humor in this fucking film.

And I'm like, this is crazy.

Because, you know, that kind of, that scene where he's like, Sammy's like, well, so what kind of, what kind of, what are you?

It's so funny because I think like, it's like being black or being an immigrant in general.

You know, when people ask where you from, you know, sometimes they're like, oh, okay, yeah, but where are you from from?

Where are your people from?

I'm like, what do you mean?

Like, I can't say Texas, I can't say Houston.

It's crazy.

Yeah.

Yeah, but yeah, that scene was really funny.

And I think like from the perspective of like, I think even in context there, I think it's very interesting how she, well, how cornbread and how like people who saw her, like they treated her, but at the same time, you know, it also exposed the dangers of passing.

Right.

Yeah.

Yeah, it's very interesting, specifically with like, when Stac is trying to protect her and he's like, any one of these people see you and go tell, you know, the white people, you're a cook.

Yeah.

Yeah.

And you know, you lose all that privilege and you know, you're back to being, yeah, back to being, you know.

The sensitivity.

Yeah.

It's so interesting.

It's so interesting.

I think we're over, we're kind of over playing, it's like, I guess, her culture of all genesis or like, you know, whatever it is that people like, the critiques have been talking about in regards to her character.

Yeah.

I think like one thing that is very clear is that she does resent her whiteness.

Yeah.

Another thing that's pretty clear is even the white people do not view her as white in entirety because of the one drop rule at that time.

Right.

Yeah.

So seeing her being amongst her people, I like people that are still like, Eh, what are you?

But a lot of people weren't like there.

Yeah, they eyed her, but like, I forgot her, the-

No, what I'm saying is that like, I think the shot or that scene just kind of in a very quick span of like 10 seconds, 15 seconds, kind of have you thinking, especially if you have the general context or the right context about that timeline.

It has you, and it displays like, the incredibly difficult nuance, like the complexities of that kind of person's life.

These spaces, yeah.

Yeah.

And whatever spaces that they may embody.

Yeah.

So, yeah.

I agree.

I agree.

And just because we're talking about the critics of the film, I also think, you know, like, everyone's kind of blaming her, saying she was one of the villains or the villain, because things would not have gone down if, you know, she wasn't there, if she wasn't, if the staff wasn't involved with her and all of that.

I just think it's a bit reductive because Remick, clearly, was not going away, right?

He wanted Tami.

If it wasn't Mary going out, you know, to get their money or whatever, it would have been something else.

Conrad, for example, like, he would have still needed, I think someone said this in the chat, he would have still needed to go piss, you know?

But he would need permission to get back in.

Yeah, sure, right?

But like, they were getting in one way or the other is what I'm trying to say, okay?

What was he gonna tell them?

They're making it sound like Mary because she was white and she was in the film.

That's the only reason why everything went bad.

No, I'm not in agreement with that.

But like, I feel like her leaving risked a lot of things.

Yeah, it did.

It did risk things, but at that time, we did not know that there was a danger.

Yeah.

No one knew there was a danger.

Well, like, in the context of the people in the movie, yeah, as audience, we knew that there was a danger.

Yeah, as audience, we knew about Remick, but yeah.

The people knew about it.

Yeah, so our actions would have been different within context.

Right, right, right.

And again, we have to remember that she's, what she does is in service of the jukebox.

Yeah, exactly.

She's not doing this for everybody that's there.

Yeah.

Yeah, no, yeah.

I'm in agreement with that.

I don't think, like, I don't think her whiteness is the reason why they all, like, are dying and whatnot.

But I'm saying, like, her weaving, period.

She was a catalyst.

Wrist, yeah.

It was.

It was.

I don't think it's her whiteness.

Like, I'm not agreeing with these people's thinking.

I think realistically, there is something that needed to move the story forward at that point.

Right.

Right.

That was the truth.

Yeah.

I don't think there's any, like, what I'm trying to say is, I don't think there's any, I don't think Coogler is trying to make a statement, a political statement there.

I don't think he is.

Even though that was what he chose to be his catalyst, I don't think there's a real statement being made.

Same for the woman that said, comment live.

Okay.

Let's get to that one.

No, let's get to it right now.

Okay.

So the conversation.

I believe I'm Misgana.

I know you guys are on very different points in regards to, oh, no, not for that scene.

My bad.

Okay.

Yeah.

Just cook right now.

There's a scene that I'm going to mediate very, you know, your turn, your turn.

Yeah.

So the conversation has been that like Asian people, first of all, I don't know.

I'm not saying this as me saying it.

I'm saying the conversation is that we take their side, you know, we treat them as minorities or we bring them in, invite them into our spaces, make them feel welcome.

But as soon as it serves them, they turn their back on us and they throw us away.

They leave us out to dry.

And they're using Bo and Grace, calling them the villains, really.

Grace, really, the villain, and saying, you know, they invited her into a space, paid them all this money, treated them like family, you know what I mean, made them feel good.

But as soon as Grace's daughter was threatened, like she sold everyone, which, sure, on paper, I do see what they're saying, but I'm going to stand by Grace not being a villain because she was the only person, right, that had someone close to her threatened.

In that moment, in that moment, she was the only person that had, who else did they threaten?

Ramek literally goes on a whole speech about, I know your, like, I know both stories, I can see, I know his history.

And he's even talking to her in Chinese.

Well, who else did they do something like that to?

And he's talking about, we're going to go to the grocery store and going to see a doctor.

Like, I cannot fault her for anything that she does in that moment.

No, I'm, I'm faulting her because she's stupid.

Like, yeah, you can get it.

Misgana, are you a mother?

Do you have a kid?

No, I get that.

Like, I'm not saying, like, I very much understand that she is a mother and she cares for her daughter.

I understand that.

But I'm saying, if your child is going to die, at least live.

Why are you also dying?

Because she knew good or well that she was not going to survive it.

I'm so sorry.

If I know there's 50 vampires dead.

Yeah.

Right?

Being controlled by Ramek.

And there's 10 of us inside.

You're going to die.

Yeah.

What exactly?

Comment says no comment.

She's not thinking about that in that moment.

All she's thinking about is Lisa.

That's it.

That's what you're getting.

But it's very stupid, logically thinking.

Yeah.

Emotion-wise, it makes sense.

You want to get to your daughter.

But how are you going to get to your daughter if you're going to die?

I want to point out something very important.

She has been very self-serving throughout the film.

Right.

How?

Okay.

I'm giving you the instances.

Oh, sorry.

I'm giving you the instances.

Offer it when she's called to make the sign.

The pricing.

She's going crazy.

She's not doing it.

Coogler literally shows us the scene right before that, that shows that it's not her being self-serving.

It's the way of life.

He shows us the scene with.

I would do you, but we're going, no, it's all with the people lining up.

She is buying the price.

We can see the situation.

Bo is really doing friends and family.

Also, Bo is the one working in shop that serves black people.

Yeah.

She's working in the shop that serves white people.

I hear what people are saying in regards to her viewpoint and things about that.

But let's continue the, when shit pops off, he, again, self-serving, sends Bo out into danger to go get her.

She didn't know about the danger at the time.

She did.

She did not know about the danger outside because Smoke or Stack, whoever was dead, was still in the room.

Remember?

They were still in the room.

They didn't know that they were dead.

She just didn't know what was happening.

She knew that they, no, they knew that someone ran out and Smoke was shooting someone.

They knew about the show and they knew about the show and they knew that, what's her name, Mary ran out.

But they didn't know that the twin was dead.

They didn't know that it was vampires.

Okay, I hear what you're saying, but I feel like it's still self-serving because Bo was like, hey, let's stay here, let's help them.

This is our people.

Yeah.

He wasn't trying to stay, she was trying to go home.

Yes.

I agree that she was self-serving and wanting to leave.

I don't agree that she was self-serving in sending her husband out to danger.

She didn't know that, yeah, that's what I'm saying.

Okay, we can think of the danger part, but in the podcast, it did end up with him being in danger.

Right.

Yes.

And that is, again, if she did not go, she didn't go with him.

She didn't say, let's go together.

She sent him.

Exactly, that part.

So she's selfish.

She's not so-

She has shown that she's willing to sacrifice.

Right.

There was a minute response day ago, let's go together.

She didn't even say, she said, you go get the car.

I'm going to get whatever I need to get, whatever utensils that we left here so we can take it back.

I don't think, yeah, she's a mother, but I don't think she made logical or emotional decision.

And the fact, if I was smoke, she would have been dead.

I'm so sorry.

Come.

What did she say?

Come.

I think smoke had more smoke for Sammy when Sammy was like talking a little bit.

Yeah, he was, he was.

Yeah, and he had a great team eventually.

And like maybe that can speak to how like, when someone is part of your community, you call them in, you know.

Yeah, yeah.

Grace isn't really part of it, so you can't really do that, but maybe that.

Something I really didn't like about this film, because one of the things that I didn't like was some of the inconsistency with like, some of the vampire lore, which I wanna jump into, you guys have a chance.

Or in this specific scene, and it's like, again, it's the thing that moves the film forward, which doesn't really make as much sense, because one of the things that we know about vampires, okay, so one thing that we know about vampires is very important to the film.

They can't walk in the sun.

Remick, first scene, he's seeing this nigger in the sun.

Makes a big deal.

He drops out of the sky, you know, it's still sun up.

I get that he's smoking a little bit.

Yeah, I think that's why they showed us that he was burning up and smoking a little bit.

Doesn't make that much sense.

Second thing is, if you are not the owner of the establishment, we learned this from vampire guys, we learned this from originals, we learned this from tons of vampire movies.

You cannot invite someone in.

In, yeah.

If your name is not on the deed, you cannot invite niggas in.

They have to stay from outside and throwing shit.

That's the best you can do.

So it was a weird thing for me because I was like, wait, what?

And also, like I will say, like after watching a little bit, sometimes, I was kind of confused and I'm still kind of confused, but I'm watching it again tonight, so we'll see if I'm still confused.

Confused about what?

So everyone dies when Ramek dies, right?

Or like Ramek is the one controlling them, or that's what they eluded to.

No, they died because of the sun.

Wait, wait, wait, let me land, let me land, let me land.

You're cooking, you're cooking.

Let me land.

I know you read my letterboxer, because this is the core of my letterboxer.

I walked out, I was so confused.

I don't know if you fully remember, but when Ramek was moving away, they were moving away, they were doing whatever Ramek was doing because they were under his control, or some sort of spell, the originals.

We've seen how-

The science niggas.

Right, right.

So when a couple of them ran out, they were willed to just go, leave Ramek.

And I was like, so what do you mean?

Like Mary's stack and a couple of them just ran and just left?

The film doesn't say that.

They literally-

Any character said that you have to kill them one by one.

It's not like one of those, you have to kill the person that tried to kill them.

They literally say that.

No, no, no, no, see, this is-

It's not that their life is tied to Ramek's.

It's not, yeah.

What she's saying is that in-

Okay, even in Nosferatu, we're seeing like the quote-unquote mind control thing.

Yeah.

Here, we are very much seeing the hive mind thing, because if it's not like a hive mind thing, they will not be able to attack their own people.

For example, is Bo almost threatening his wife.

I agree.

I agree.

They're all moving in accordance to what Ramek's wishes are.

If they are moving in accordance to what Ramek's wishes are, two scenes.

First scene, when Annie dies, why are they showing remorse?

Why are they upset?

Because both Sack and Mary are like, no.

That's one thing.

Then they left.

The second thing, Mary runs away.

You are not meant to be able to flee in that situation because Hivemind, Ramek wants this, so you'll find that.

Then the last thing is, when Smoke makes the promise, makes Sack make the promise, and he's like, if you know, XYZ, you're off.

Cool.

Why is he keeping to the promise?

Makes no sense, again, if you are abiding by the whole Hivemind, Ramek.

Okay.

Exactly.

Now, that's very important because if they always had free will, one, why were they killing their own people?

Yeah.

Two, why at no point did any of them not turn on Ramek?

I guess maybe Ramek is the order of the Empire, Ramek is much stronger.

So Ramek could have killed them, but at least we would have seen a protection for my family or my community.

Okay.

So that's one of my biggest core negatives about this film.

I do think these are very criticisms and they obviously bring out the reason a little bit.

But I think you guys are oversimplifying some of these things.

I don't think it's a one-to-one Hivemind thing where this guy is our lord and anything he wants.

No, I think that's what Coogler is showing by showing us these things that you're pointing out as criticisms.

I think Coogler is showing that, okay, to some extent, the person that turned them, he wants these things and we're just like pawns or not necessarily pawns, but we're like his soldiers doing his work.

But I think that Coogler is trying to show that they still have some, they talked about it too.

They're like their soul is here, their soul is tied.

The person's soul is still in this person.

Even though in the moment they're physically vampires and they're working to satisfy this person's plan, the person's soul is still there.

They were not being sad for Annie because he killed Annie.

They were sad because he permanently killed Annie.

They wanted all of them to be vampires living as vampires together.

That's what Mary and Stack wanted.

But him driving the shaft through Annie's heart meant that Annie was done.

She was dead.

She was not going to be a vampire.

She was actually properly gone.

That's why they were sad.

They were sad that now we can't be vampires together.

Now we're actually going to be, you know.

And then in terms of like Mary running off, I thought that to mean self-preservation because the sun was literally about to rise, which is why they died.

I mean, there's that scene too that I was just confused because when Ramek was struck with the guitar, right?

They all went, ah!

Hot mind, hot mind.

They all got hurt, but the sun was not rising.

Even Pearlene came up right after that, though.

That's why they died.

It wasn't because of...

No, no, no.

But before, like, there was a minute before the sun came up, they were all...

Yeah, yeah, yeah.

Even Pearlene said that when she shot Ramek that, yeah, he's like, oh, when he's hurt, they're all hurt or something like that.

Yeah, no, like, they felt it.

I was saying, so when they left, right?

When Mary and a couple of them sack, and you see, like, a couple of people run, so it's not just Mary and sack.

They just left.

They were broke with their own power.

And I feel like the story, yeah, like, they don't have to do whatever Ramek does or a vision, but they sold this story of, like, we're all going to be a community, we're all going to be the same.

And it's like, one more shit is not cute.

You just run.

I think it's self-preservation.

I think it's self-preservation.

And that's a good argument.

Yeah, but I was just confused.

I don't think I thought about that as much, that it's very possible in Coogler's version of the vampires, just, no, I'm not going to lie, homie.

I'm still like, because the moment you see them being able to kill you, also trigger your self-preservation, and fly to the toilet.

But you're still fighting.

Fair enough.

Yeah, still fighting.

Okay, arguments are there.

I also did not like, and did not see the reason in, okay, these, they don't have like, silver bullets.

They don't have like, holy water, whatever it is.

You know, they don't all have voodoo bags or voodoo bags.

Right, right.

There is like 50, 60 man, you know, all vampires.

Six people.

This is reminding me of the conversation that we're seeing on the timeline right now of a hundred men versus one woman.

Okay, what is the point that you're getting to?

Because the people lost the fight.

They lost the fight.

Absolutely, but it's way too long.

It made no sense.

It did though.

They had done, they took down at least 30 vampires.

It wasn't up to 30.

Let's be so fucking for real, right?

A lot of them were still outside, but the point is, the people were prepared, right?

They prepared.

They were like, okay, the guns are not going to kill them, but they're going to slow them down.

And we have like, they all have their wooden stakes and all of that stuff.

It's not a gun, Steve, you're right.

And they have Annie throwing cool down in water.

Because you are the same person riding for Grace to go home to save Lisa, right?

So if you knew good or well that they were going to die, so why are you saying Grace is not the problem?

I'm sorry, your logic somehow makes sense.

Grace is too pretty to be the problem, man.

Okay, okay, I don't know.

You're the problem.

Exactly, exactly.

I'm just kidding, I'm just kidding.

I feel you.

But you know what, gang, so unfortunately, Misgana has to Yes, but I can't wait to Before you go, let's give our ratings before you go.

Let's give the ratings.

Okay.

I give it a strong, I feel like as a movie lover, I was really impressed and I feel like somebody said this, and I think I sent it in the chat, where somebody said like, this is like, this is the movies that I want to see, and this is the movie I crave to see.

I like movies that are just, you know, I watched Accountant 2 and I said, okay, like basic, ordinary formula, action.

I was like, okay, like, I get it, but I want to crave to see, because I feel like because I'm a very adlit movie watcher, when something is really good, like it makes me want to watch more, and I have been on that in a minute, and I watched Adaptation recently.

It's a double, on-air movie with Nicholas Cage.

I know it's fun to you, but I think it made me love it so much.

So I give it like a 9.7 out of 10.

9.7.

I hope niggas don't, sorry, I hope people don't take like the, oh, he's the great black director.

He's a great director, period.

Yeah, that's it.

I hate when, like, Ryan Coogler also dressed it, but also I'm going to say, that man deserves his flowers.

You can't just give him red, you can't forget the yellow and the whatever.

Give him all.

Yeah, yeah, yeah, absolutely.

I love that.

That's a great way to end your spiel.

We love that.

But you guys let me know what your names are.

I'll talk to you guys later.

So Steve, Steve, Steve.

So I'm just staying gang, you know.

What are we going to give the people in our Misgana's life?

This feels so sad.

I think another criticism that for me just did not mean, I think most people are being like-

They ignored me and just jumped straight in and said, well, you know what I had beef with?

I think I'm not as, what do you call it, as harsh in the film.

I'm not picking the vampires of all of this stuff.

But how did smoke, was the smoke that was still alive, how did smoke make it past the vampires?

Absolutely even the, no, it was Stack that died.

Smoke was one that was still alive.

Yeah, smoke was still alive.

Are you talking about the end of the show?

At the end.

At the end.

That's Stack.

No, no, no, no, no, no, no.

When smoke saved, doesn't kill Stack, right?

Yes.

Yeah.

Yeah.

Yeah.

And then Remick and Sammy are fighting in the water, right?

And all the vampires are between the water and the house.

Oh, wow.

How does the smoke make it past all the vampires to kill Remick?

Let me tell you, it is that Arya Stark game of Thrones job.

What are you talking about?

So that's what happened.

I was at the process, I thought, oh, Sammy killed him, like, with the pulse, you know, with the...

And then I turned around, I see smoke there, and I look back, and all these vampires are there, and I'm like, Ryan Coogler, I'm not making sense, but I'm going to take it.

I'm going to let it rock.

You guys made me, you know, angle of...

What's the word?

Elevation?

Elevation.

Depression.

That's crazy, though.

That's how we got it.

Yeah.

I just didn't...

I didn't really like that.

And then the final scene with the KKK shootout, I like that scene very well.

I like the shooting because, like, we've been talking about how these guys are soldiers and these guys are soldiers.

And a few of the times that we had gotten them the chance, like, given them the chance to be soldiers, it seemed like they didn't show us that aspect.

But in that scene, you actually get to see, okay, this is a guy that's fought in World Wars and stuff like that.

But then, after that, I did not understand with Annie.

Because I know, I figured that the grave was for a kid that they lost.

I don't think it was ever said, but I figured.

No, no, they talked about it.

They kind of, like, talked around it.

And I don't think it was a child or my child, but it was like him or our baby or...

Okay.

I actually did talk about it right back.

Yeah.

Yeah.

Yeah.

And so I guess that was meant to be some, he's dying, he's bleeding from the wound and, you know, he's sharing that moment, about to come to the afterlife with Annie.

But then he was still alive and I just didn't get that part too well.

I feel like whatever he was trying to do was he killed the flame when the guy asked him for his cigarette and I'm like, oh, he's still alive.

He's still here with us.

I guess it's a cute way to send your car off, but don't really make much sense to me.

But all in all, I'm happy that this film exists.

I think that's ultimately what it comes down to whenever I see a movie.

It's like, am I glad for this or would my life have been fine if this film didn't exist?

I'm glad that this was made.

I don't care.

I could care less about the box office numbers.

It seems like that's unfortunate that that was taken over by other film journalism in today's world.

It seems like if you Google cinemas, it's all the headlines are going to be about.

Profitability.

Yeah, exactly.

Profitability and all of that.

It's very unfortunate that Coogler can make a film this good and that's all it's going to be reduced to.

Even on the press, the post film press, they're asking him about the contracts and the deal because I guess his paycheck is tied to how the film performs.

It's like, that's not your business.

My first dollar gross, whatever.

I think he also, I think he gains all rights to the movie after about 20 years or something like that.

I don't know.

Oh, I mean, that's like, that's like the deal that they're talking about.

Like he's insane.

It's insane.

Like how can you, yeah, how can they do that for a movie that they, you know, spent millions on like shooting?

Yeah.

Yeah.

I hear what you're saying.

I think I have very similar sentiments.

I think when I watched this movie, I was like, solid and I stopped with the movie.

I said, okay.

Yeah.

Okay.

I think when you know I'm being emotional, is when I rate movies out of 10.

That's when I'm like, okay, yeah, this is emotional.

Yeah.

Five-point rating.

I think I put this at a, I'm just sitting with it and ironing out the things that I felt like I didn't love for the reasons that they were.

And you know, we've talked about majority of them on this, on this part, but unfortunately, we couldn't get to talk to, talk about The Cinephile.

Yeah, we didn't really talk much about that.

I think let's spare some time to talk about it right now, before we end the app.

Well, for me, I felt like the scene was a little bit reductive.

And the scene we're talking about is the scene with the music transcending time and we're going through the, you know, going back from the old African-American drummer and then like, you know, which also could just be like yesterday.

Yeah.

All right, the past, the way that you get me.

But you know, they're going from that to the future of the movie, which is, you know, rock and roll.

Then, you know, they end up in, like, Harlem Shake time and then, you know, we're really rapping.

We're doing it.

Um, I felt like, for me personally, I felt like that scene was a bit reductive.

I felt like it would end up too quickly.

It progressed too quickly.

Okay.

But reductive in the sense that you're saying it didn't, it could have included more.

Is that what you're saying?

It could have included more.

And for that to be the central crux of the movie.

Okay.

You know, they have the prophecy at the start of the movie.

Then they have their sayings again at the very end of the movie.

And like that whole music transcends time or people that can call upon music or can take you through the generations or whatever.

Big thing for me in the movie that is also not explained is all these people, I'm guessing that they feel special when they listen to the music.

They feel, hmm.

Mm-hmm.

Or do they see the things that we are seeing as the audience?

Yes.

That's a good one.

Or the things that also Remiq kind of, I don't even know if Remiq fucking sees it.

I think he does.

I think Remiq is able to, and I think that's a little bit what Misgana was saying.

I don't know if she said it on the part or outside of the part.

Yeah, but it's kind of like talking about how like she believes that Remiq, or the main motivation for Remiq, one thing Sami and his community to build his community with is because this is kind of how he can sustain his future.

Yeah, almost like Sami's powers are almost like precognition.

Yeah, yeah.

So I don't think Remiq is physically able to see the spirits, because those are spirits, right?

The girl twerking, the guy when duet and dancing, the guy with the mic and stuff like that.

Those are essentially spirits from the past and from the future.

I don't think Remiq is able to physically see that, but he's able to sort of visualize and hear through Sami.

Sami sounds, acts like a medium to music from different times.

And that's why, that's kind of why he wants him.

He wants him to be able to live and transcend time and all of that.

But I think for me, I don't know, I don't know about being reductive.

I feel like there's so much, like if you want to talk about the history of music, for one, Coogler is only talking about music in relation to the Black African-American.

Absolutely.

And that's, I think even in that, I do feel like he's missing out on some very key errors.

I agree, but I think it's a lot.

Like even within the African-American community, it's still a lot.

Like even if we're talking about today alone, there's the people making jazz, there's the people, there's West Coast hip hop, there's East Coast hip hop, like there's Black R&B, you know?

I think it's so much, you know, right now, the big one is probably like Afro house and like electronic, black electronic stuff.

Yeah, I'm like, yeah, we can't even toss in some of my mafias.

I don't know, like, what's great?

I think it's so, so, so big that it's just a lot.

It's a lot.

And I like that.

I also like that it was taken in one take.

I love that it was taken.

Oh, absolutely.

That was beautiful.

I thought it was okay for the film to rest in it.

They could have died deeper, yes.

I don't know if Göransson is necessarily the best person to explore that.

So I think for what, for who he is and, you know, for what he's done, I was okay with it.

But I think that's a valid criticism as well.

That was like, that was my main critique.

I know we talked about the vampire logic stuff, which was really grinding my gears, man.

Like, I was watching Vampire Guys, I was watching Originals, I was watching like Justin Tron, like I was watching other vampires stuff.

You know, I think we, there was a pod episode a couple of weeks back where I talked about, damn, I rewatched Blade and I completely forgot that he was biracial.

Yeah, you said that.

Yeah, I'm like, I be watching the stuff, like, you know, it's crazy.

Yeah, so what would you, we're over an hour now, so what would you give your rating for this?

It's a 5 out of 10.

It's a 4.5.

4.5 out of 5, okay.

That's better.

Yeah, let me just say that I'm not going to be as mean as my little box of you.

Maybe I was just vexed, I don't know.

My little box of you, like someone was like, well, did you like the movie?

I was like, yeah, I did.

I'm literally saying I would love people to watch this movie.

I would love so much to watch this movie.

I don't really think it matters if you're racist, like if you're black, I think it's still a good experience, still a good story.

We watch movies with white characters displaying white culture all the time, and we don't have a problem with it, even though we have white culture and your systems and stuff.

I think it's a great movie, but I dare not make it be funny, because one of my coworkers, they were talking about it and he saw me just kind of walking.

And they're like, yeah, Leo.

He was like, what do you think about Sinners?

How do you feel?

I was like, hey, black people, stop that.

Send me a link to my blog, black people, and ask me for your community.

That is funny as hell.

I think for me, I went with the 4.5 and letterbox as well.

The third act is so flat, right?

And I love Coogler.

I love Coogler.

I love Creed Black Panther.

Don't even get me started.

And I want him to succeed.

I think he's really, really good, not just as a black writer.

I think he's one of the greats right now that's currently active.

I don't know why his third act was so weak in this, because it's not like he could have a weak third act.

So I don't know where that came from.

I did read a review.

It was from IKM, actually.

We've had him on the podcast saying that he's willing to bet that it's, you know, the studio execs wanting to make the film more entertaining and wanting to make, because that's like the climax and all of that.

So they wanted to make, you know, vampire stuff go big.

Whatever it is, I don't know where that came from.

It's not like Coogler.

It's very, very uncharacteristic.

And especially with the way the film was set up.

Like even in that third act, when the VFX starts, that's when the VFX starts becoming weird.

Like the scene in the water and stuff like that, with the silver and all of that.

I was just like, bro, you're not the same person that shot the first hour of the film.

That's not what we needed.

That budget was tight.

It just seems so like, bro, you've set up.

So in that final act, my rating dropped to a four.

I'm just like, I'm around it up, give them a four or five.

But I think out of 10, I'm giving this 8.5 because it's a very good film.

It's a very good film.

Yeah, it's very good.

I'm glad it exists.

Do you recommend to watch this?

I would recommend to watch, yeah.

But I think I would.

I know what you mean, but you got one question before you sign off.

So, to people who might be going to watch the movie, what is one thing that you want them to not do or to do?

Okay.

I saw one who saw the film just literally this morning.

I think why I was able to enjoy was avoiding all spoilers, going in on a blank slate, going in on a black screen.

We just told them all.

Everything in the movie.

Yeah.

Well, I mean, to the best that you can, even if you know spoilers, it sounds hard to say, but just try to forget.

I think Coogler starts this film by setting the tone.

We talked about that already.

He starts off by telling us how he wants to start up, to just go with it, clear everything, forget everything you know, even about the times, the things you know about Jim Crow and the Mississippi Delta, and all of that.

Try to clear that out, and just go with the film is taking you.

I think that's the only thing I would add.

That's fair.

I think for me, what I want to say is, specifically to people who have watched the movie freshly, and I hope you're listening to us as soon as you watch the movie, we want you to, I want you to go to this movie, and remember two things.

One, this movie is, it takes place over one night.

Yeah.

So it's not going to explain every fucking nuance around black people.

Yeah.

It's not going to explain situations that happen, like every decision that is made, and characters that you see briefly and you don't see again, it is because it takes place over one night.

And I want you to remember that.

The natives, Sammy's mom, like one night, please remember.

And secondly, this is also a story within the Mississippi Delta.

That is the setting of the film.

Yeah.

Do not talk about what was going on at that same time period on the East Coast.

Do not talk about what was going on at that same time period in Chicago.

Don't talk about what was going on in fucking Florida.

We don't, that's not, these are not the core aspects of the film.

These are the core aspects of the film.

Yeah.

Well, if your critiques are around that instead of, if your critiques are around what the film could be, let's cut that.

If your critiques are around, oh, the film should have a second movie explaining this and that.

No, definitely not.

No, No Sinners 2.

No Sinners 2, No Sinners 3, No Sinners 4, No Sinners 4.

We don't need to worry about what we're doing in Chicago.

This is a very stand alone.

This is a stand alone, a stand alone sentiment.

Yeah.

Coogler has told you the story he wants to tell.

Yes.

It is up to you to judge or criticize based on what he has told.

Yeah, agree.

I understand things are not always in a vacuum, but your personal desires of where this film could have gone is completely different from what the film is.

Yeah.

From a negative rating simply because you don't agree with some parts of things that you wanted to explore, your own personal experience or your own fucking desire.

We need more black directors, we need more directors as a whole.

You have so many big ideas.

Please get into FromSchool.

Yeah.

We would love to call your shit on this podcast.

Exactly.

That's the goal.

Yes, eventually.

Eventually.

Matter of fact, open call, you have a short film, you have anything, DM us, be in our comments, talk to us.

We will see if your product or your vision is the right thing.

It's good enough, Ryan.

Talk about on the podcast, and most likely we are going to have you on the podcast.

We're just really open to talking to people.

Yeah.

This has been The Cinephile's Aisle.

It's been a Cinephile episode.

Hope you enjoyed.

Hope you guys loved it.

Hope you enjoyed our Cinephile episode.

All right, safe.