HOLY SHIT

WE INVENTED EVERHTHANG

this is everything!

YFW you live next door to this barn and it is 3am on a Tuesday and you have to go to work in 3 hours.

99% black cast

That one white antagonist gets all the praise and attention

Is this the new Netflix Led Zepplin biopic?

Looks fun

Now I'll watch your movie.

I liked this part. The rest of the movie is shit

bad lighting

I will not watch your slop

big high production "niggas thru da ages" dance number

gets mogged by one white guy doing the river dance

You know what word rhymes with sinners?

black people can't play the electric guitar

This is hella diverse

THAT
ONE
SCENE

Memes aside one of the best scenes I've seen so far though. Music is our cultlure, our identity and will continue to be long after the bombs have fallen and the trees have grown again

I liked the white vampire guy

music

Sampling other people’s music and rapping over it is not creating music, it looks to me like it didn’t require any bombs to end that aspect of your culture. Just innate laziness was enough

Yes, well, you can’t expect the people here to look at the soul of a scene maturely, now can you? It’s just funny black people to them.

From Dusk Till Dawn is better.

It was so good tho

This made white liberal levitate in their seats

lmao wut

That one girl twerking with Harriet Tubman

What the fuck? Lol

That's why the movie was so entertaining. It wasn't deep or profound. Just a fun vampire action flick.

OH LAAAAWDY THEM RAAANGZ

The vampire shit happens in all of ten minutes, then the rest of the movie is just typical jewish race propaganda to keep the blacks obedient.

itt: jelly crackas

imagine watching in a packed theatre full of niggers
absolute cinema

jelly crackers

Sounds delicious.

The vampire just wanted to have fun. He should have been invited in.

gets to pound peak goblina for all eternity

Stack WON. Seriously, the rest of the niggas were retarded for not letting the potato turning them into immortal vampires as well.

hailee steinfeld is jewish and slightly asian

Lmao you can't even see them in the dark

AYE, WHERE DEM WITE BICHES AT?

BLACKS invented music

Captcha: NNGGR

This whole movie is just a way for jews to reinforce thrir control over the black mindset. Jews have been trying to use gay race politics to turn blacks away from Christ since Frederick Douglas. E. Michael Jones talks a lot about it in the Jewish Revolutionary Spirit. More recently you had those fat dykes from BLM pushing ooga booga ancestor worship as an alternative to Christianity, and that seems to be the vein Coogler is working in. Of course the jews at Warner are happy to promote the message, as it serves their interests.
Blurs music was promoted by Jewish record labels to condition blacks to be agents of the Jewish cultural agenda.

I think they missed a step though towards the end

Blurs

*Blues

someone needs to take their meds

this is the scene that made Mike and Jay literally ejaculate in the theater

lmfao

You're saying jews don't control the music and film industries?

Blurs music

WOO HOO

You wot? Jimi Hendrix will smoke your stomp clap hey cracka ass.

No, the film industry is controlled by the government, and the music industry is controlled by various people. Look at the two biggest genres of musis rap and kpop. Last I checked JYP and Birdman weren't jewish.

The funny thing is how the irish jig song makes all the rest of the music there seem... less...
there is something about large group of people singing together in good rhythm

youtube.com/watch?v=Iapw_hbyBjE

He will never see his brother again, he will never see the sun again, he will never be free

fiddle woman was the obvious MVP of the movie in terms of cuteness

Both these scenes look like shit and have terrible lighting.

He said can't, not couldn't. In much the same way as white people lost the capability to put men on the moon, black people lost the ability to play musical instruments.

They're camrips stupid

confusing fucking movie. like they wanted to make a movie about music and racism but added vampires just for the hell of it

Fun movie, but they should've cut like 40 minutes of it, it wasted too much time trying to "cook" something, but it didn't deliver it.

It was weird how some extras niggas were summoned out of nowhere at the final showdown just to die

play that music, around 2min, when all the people sing along the video..

The movie has super slow start and is a black wish fulfillment and all that modern crap, but there is something insanely cool about having a party of vampires singing and dancing outside of your house

the scene where they play the song about the rabbit or whatever on the doorstep of the club is great too

No, it still looks retarded.

I liked the scene and thought it was well done, it was pointless in the context of the film though. Just racial wanking. Sad.

is this move worth watching?

huh accurate title

Garbage niggerslop for goy cattle.

It has it's moments, but it's pretty forgettable

Are there racial slurs for Irish people?

Mick
Paddy

Niggers are a meme you poo colored coon

Can you imagine being not black and making the conscious decision to go watch this movie?

Eh, he'll do just fine if he manages to evade Wesley Snipes

Micks or paddies I guess. Feens I guess, but that's more specific to Irish catholics.

Taig is another one.

fenian cunts

The black blues/vampire hybrid Sinners mimics a mixed-genre Tarantino bash. Its story of Chicago gangsters, twin brothers Smoke and Stack (both played by Michael B. Jordan), who return to their Mississippi hometown in 1932, closely follows the plot of the Nineties vampire extravaganza From Dusk till Dawn, which was directed by Robert Rodriquez in QT fanboy mode.

Here, writer-director Ryan Coogler goes for the same trite Afrocentricity as when he made Marvel’s Black Panther and its inexcusable sequel Wakanda Forever, but the mash-up of Southern black-blues mythology with horror-film gimmicks exposes his immature cultural appreciation.

yeah, I'm thinkin' he's back

Jordan’s dual roles emulate the Rodriquez siblings who were played by George Clooney and Tarantino himself, but with no sense of parody. Instead, Jordan’s CGI Winklevoss stunt is distinguishable only by having one mean brother in a blue cap and a meaner brother in a red fedora.

When Smoke and Stack fight off devious redneck vampires who are members of the Ku Klux Klan, Sinners is no different than the trivialization of slavery in QT’s Django Unchained. This social justice kitsch becomes a mildly obscene evocation of racial terrorism. (One of two epilogues feature a roided-up Jordan reliving Stack’s WWI trauma in his own KKK massacre — an Inglourious Basterds rip-off.) Coogler attempts to out-scare Jordan Peele’s Get Out, using horror tropes to match the anguish expressed by the blues.

mmmmm das rite

But Coogler shows no real understanding of Southern blues culture beyond Smoke and Stack’s facile cynicism: “Blues wasn’t forced on us like religion,” Smoke says. “It’s the magic that we do.” The film’s opening narration about “music so true, it can penetrate the veil between life and death” panders to Millennial segregation. That old “crossroads” mythology about Robert Johnson selling his soul to the devil is replaced by references to West African griots and hostile white devils. It’s critical race theory stuff, a Black Studies curriculum by way of Hollywood. (More on that below.)

Why is this hackneyed, race-based action movie (Coogler calls it “genre fluid”) titled Sinners Churchgoing is at such a low point that even black politicians who recently sang “We Shall Overcome” in petulant protest in Congress have lost sight of what religion once meant to the civil rights movement. Since contemporary audiences no longer relate to the concept of “sinners,” Coogler’s sense of black American religiosity is limited to jinxes. Stack’s former lover Annie (imposing, womanly Wunmi Mosaku) briefly mentions a mojo bag and haints. This fakelore is as unconvincing as the 1930s Jim Crow Mississippi locale — a pretend South like in The Color Purple musical remake and The Piano Lesson.

Stack debunks Annie’s sexual aggression (“Your body can’t forget me”), but the film’s best scene lacks the emotional pull of the sensual-spiritual mix in Jonathan Demme’s Beloved, coarsening black emotional relations. Stack rejects Annie’s hoodoo, saying, “No ghost, just power. Only money give you that.” This is hip-hop juvenilia for the millennium, minimizing black culture as, essentially, spiritually rootless.

Coogler exploits the blues without accounting for its compelling folkloric qualities that contributed to the exceptionalism of American popular culture. The vampire attack lacks Robert Rodriquez’s flair (Autumn Durald Arkapaw’s cinematography is grim and underlit), ruining the juke-joint celebration that crosses the time barrier, combining L.L. Cool J hip-hop, Chinese opera, Alvin Ailey ballet, Mariachi bands, and Bollywood dancing in a Dionysian revelry that rehashes the Matrix Reloaded multiculti orgy.

This reverse-racist showpiece is a counterpoint to the KKK vampires waiting outside the juke joint — indulging in red-eyed drooling and jig-dancing to the Irish-Scottish folk tune “Wild Mountain Thyme.” At first it suggests the coven scene in Nathaniel Hawthorne’s short story “Young Goodman Brown,” but more likely, it’s a simple-minded rebuke of the Coen brothers’ folk music thesis in O Brother Where Art Thou? Coogler displays a 1619 Project purpose: His juxtaposition of vampire/tribal debauches revives the irresolvable racism that lay at the heart of Americana.

When Klansman-ghoul Remmick (Jack O’Connell) threatens Smoke, Stack, and their libidinous revelers with “I want your stories and your songs,” his soul-stealing usurpation becomes Coogler’s obvious allegory of showbiz victimization. It’s no surprise in this era of white apologetics that Warner Bros. would finance a movie that promotes its own corporate villainy — or that Coogler would embarrass his own race consciousness.

Coogler’s one-dimensional rehash of black American history degrades the legacy of the Southern blues, a subject that playwright August Wilson explored in his best dramas — Ma Rainey’s Black Bottom, Seven Guitars, and Joe Turner’s Come and Gone. The latter featured Delroy Lindo in an astonishing Broadway performance as a man battling the internalized power and anguish of the blues and the church. But Lindo’s role as Delta Slim in Sinners degrades August Wilson’s concept so laughably that it proves Coogler’s generation has lost connection to black history, art, and spirituality, traducing all that into Hollywood trash. Like the trite Black Panther, Sinners is just ethnic heresy.

Explain to me why they put the DJ in.
They couldn't help themselves, could they?

This is the part of the societal life cycle where niggers get to play with all your toys until they're all broken.

there was also a part where Delroy Lindo says he shit himself, because black movies always have to have some weird poop humor

It's magic what we do

Delta Says this, not Smoke

Panders to millennial segregation

What does this mean

West African griots and hostile white devils

The movie was sympathetic towards the Irish and so is Coogler

Annie's magic inaccurate to Mississippi

Says in the movie she's from Louisiana

Devious KKK vampires

Lead vampire was textually not Klan, he bit the Klan couple and made them not racist. He even told the people the KKK was coming for them and he wanted to fight them

LOL I knew it was a piece of crap when normies started flocking to it.

MUH MAGICAL GROES!

I SHALL WORSHIP THEM!

It did, but you didn't get it.

After all the hype this movie got i decided to give it a shot and it was...mid.

I guess it's a masterpiece if you're black.

You'd have to be retarded to think that this movie is supposed to be deep. It's very obviously a love letter to the 70's and 80's horror flicks and From Dusk Till Dawn. Even the OST is reminicent of old italo horror.

This man is a retard. The lead vampire is catholic and definitely not clan.

Smoke is Annie's bf, not Stack

Mariachi bands and Bollywood dancing

Those were not there

Wild Mountain Thyme

That's not what the song is called

When Klansman-ghoul Remmick

Textually not a klansman

If this kind of talk impresses you, you're a pseud. He doesn't even make sense on his own terms and he misrepresents the movie. What a retard.

OH LAWD DEY HOOTIN DEY HOLLERIN

whats the deal with the giga-nigga dressed like a super saiyan?

Cunnilingus scene comes up

Black woman from nearby seat looks at me expectantly

What was this movie's deal with Oral Sex?

niggas would rather suck dick than eat pussy

white married woman pursues and begs for a black man to love and dick her during Jim Crow era not giving a shit about society

there's only so much suspension of disbelief i can give

Hailee Steinfeld isn't white in real life or in the movie.

You wouldn't believe that?
White women are the most subversive snakes on earth. What makes you think one of them wouldn't do that if they could?

You wouldn't believe that?

In Jim Crow Mississippi? No i would not.

Why not? She could just claim rape afterwards. Women get off on that shit, the ability to kill people with their pussy.

Yup. Emmett Till is the most famous case.

The chink women is hot