Matthew 9:13
File under: Film, Black Culture, Psychology
I don’t do thriller.
Not my cup of tea.
But I took a risk yesterday.
As we know, love prevails in all things. I first fell in love with Ryan Coogler’s provision for cinematic excellence in 2013 when I ugly cried in a Royal Oak movie theater watching Fruitvale Station.
My tenderness for a vulnerable kid named Wallace in the iconic classic The Wire has since catapulted into full-blown infatuation for the greatness that is Michael B. Jordan. It’s true—I allowed my love of these two men to lead me into the darkness.
On April 18, 2025, I found myself solo, sitting in a dark movie theater watching a thriller-horror-drama’ish movie called Sinners.
What I discovered rather quickly was that I was experiencing Black preeminence in full IMAX glory. It felt familiar and enigmatic—stimulation overload in the best, most visceral way. Visually, the box office hit was aesthetically crisp and appealing. The imagery, paired with a sophisticated accompanying score and soundtrack, resulted in emotional captivity that I am still unable to fully comprehend.
How is it that I feel comforted by such gruesome depictions of survivorship?
Grotesque visual symbolism for the historical realism that Black folk know all too well felt eerily validating and affirming.
I surely didn’t expect to feel so close to God with the devil so clearly embodied throughout the storyline.
How, you ask?
According to my spiritual understanding—and increasingly intimate relationship with my God—I know that mercy and compassion are gifted to me and expected of me, even when threatened by the allure of sin.
My God does not call on the righteous nor the dogmatic indoctrination we call religion, but on sinners who recognize the need for mercy and grace (Matthew 9:13).
I haven’t seen such a profound depiction of spiritual warfare in a long time.
Coogler, with great precision, portrayed the seduction of man’s greatest vulnerabilities (i.e., power, money, desire), and how supernatural evils will utilize those vulnerabilities to conquer and destroy.
And then—he takes a risk. Enter: the vampires.
Evils in supernatural form will use the flesh or human imagery as camouflage to destroy. Vampires appear human, seduce you into submission, then literally suck the life out of you, take the purity of your soul, and leave you a shell that can only exist in the dark—never to see the light again.
Pure brilliance.
What felt especially powerful was Coogler’s stellar depiction of both spiritual warfare and the soul death that plagues our nation intergenerationally due to cultural, racial, and sociopolitical genocide—in the physical, communal, and psychological forms.
How deceptively skilled is it that the vampires are “saviors” in disguise? They offer community in response to the sociopolitical plight that threatens the freedom and peace of the people. They promise “eternal life” to those whose lives, livelihoods, promise, and potential are threatened daily.
This is enticing to the suffering.
We sell our souls daily—for money, power, respect, and love—even when we know it’s an illusion. And we sell out for far less than what our bloodline endured during the Jim Crow era.
As a psychological expert in matters of life and death, I submit to you that Jordan eloquently depicted the hardened fears of the oppressed: tender to hate, harm, and the hostile takeover of demonic rebellion. Sick and tired of being left behind, broke, and disregarded.
Smoke and Stack weren’t to be fucked with. And yet—they knew love. They had love to give.
Oh—and we have to extend flowers on behalf of the true magic within the film: the music.
Sinners masterfully amplified the devil and the enemy’s (white supremacy and racism) collaborative plot to exploit the cultural heartbeat of the people. Every effort was made to ravish the resilience and hope of the people by attempting to disrupt the transcendent intergenerational power of their music.
There were grand casualties—because there always are where the devil lies and where hatred breeds.
But the gag is, Sammy played for a lifetime. Just like Sammy, we play on.
A homage to good 'ole Uncle James, Coogler consistently brings Black history and folklore to light.
To the full cast of Sinners...
Way to shine.
Dr. Brandi Pritchett-Johnson is a licensed psychologist, consultant, educator, speaker, therapeutic coach and the creator of The Diane Morgan Group (DMG)–your premier therapeutic and consulting firm.
