‘Sinners’ and Beyoncé Battle the Vampires. And the Gatekeepers, Too.

The blues, especially, “affirm not only the black life of the United States in all its arbitrary complexities and not only life in the United States in all infinite preparations, they affirm life and humanity itself in the process of the falls of sealing of the falls of which they move in the direction, and the lowest spots are not the ashes, they are not only the splashes of the autocompression, the self -control, the self -control. Of facts, and most of the greatest direction are ashes, not only are the splashes, they are not the splashes of the rooms of the aspects.

That is throughout the first hour of “sinners.” All that really happens is that two Michael B. Jordans, playing Twin Brothers, open the Juke Joint. They buy the country, recruit talent, they get the provisions, cut agreements, repair emotional fences. It is a stretch of warm, humorous, sexy and sexy cinema that our trust is gained and attracts our fear: I mean, when is all this good feeling (a twin shoots two types, then we, Laugh) and the catfish and Lowdown lives condemned? Coogler has given a disaster of rules to bend and adhere to: those of vampires, possibly zombies movies too, Jim Crow, The Music, The Music videoThe Western, what Quentin Tarantino would call the culture of revenge-o -atic, Griot, church dogma, going through white, going through life.

But it is Murray who comes strong and of course, even after the vampires appear armed with banjo, violin and guitar, claiming to have come all this path to listen to such beautiful, powerful and undeniable music. Blues is an intangible quality that inherent within this representation of blackness, as the camp does in a certain queer art. That song of “Already” On “Cowboy Carter” is a son of the Blues number during stellar schedule that Beyoncé mounted without a chair.

But both are works concerned with the legacy of a people and a way of life, of blues as an art form and a lush mental state, all on the verge of extinction. This work is fighting, occasionally with yourself. But Beyoncé and Coogler have felt that something vital is at stake at this time, and it could be the fabric of history; His work knows that this story is always in danger.

If “sinners” players are also vampires, and vampires want to steal black art, they don’t go very far with it. Mosh and break on the earth, at 200 feet from the Juke’s joint, surrounding the vampire of the head, a white Irish who passes through Remmick (Jack O’Connell) and has a real leading energy -if -if-is-to-Aaaa-Culture. It seems that a sexy time is happening and probably smell like adolescent spirit. The film is set at the dawn of the recording industry, and yet the allegory does not feel as a substitute for the infraction of copyright but a crisis of faith.