Holy **** (without the temptation to sin).

Say it with me: when you pair director Ryan Coogler with a star on the rise in Michael B. Jordan, you get a sensational experience with vivacious gutsiness.

Never would it have crossed this writer’s mind that Coogler would dare trek into a vampire realm, let alone in a period that has become utilized one too many times to ascertain a point: black culture has suffered enough at the hands of white colonialism. The catch here is that if you dance with the devil, it’ll one day come find you. And that’s a lesson for the young Sammie “Preacher Boy” Moore (Miles Caton), as Sinners begins with him soaked in blood and scars whilst clutching the remains of a guitar, walking into a church where his father is the preacher.

So, what transpired? Well, a day prior, the devils showed themselves. Yes, Sammie’s identical twin cousins, Smoke and Stack (played by Michael B. Jordan in an alluring dual performance), arrive to pick up the young Sammie and his guitar for an evening where the blues will radiate across a juke joint they’ll be opening. They enlist practitioners and other locals to join in on the fun, while running into estranged wives (Annie played by Wunmi Mosaku) or ex-girlfriends (Mary played by Hailee Steinfeld) to join for the night. You see, the two cousins have a dark history of their own, running out of Mississippi to find fortunes in the organized crime area of Chicago, but returning home with guns, money, and a mountain of liquor. However, this is, in essence, a subtle retreat and an ebullient ride for the community to come together. Criminals, musicians, and local legends band together for a night, and it all soars high, until the vampires come along for blood. Ah, yes, the vibes of Robert Rodriguez’s From Dusk till Dawn were prevalent, but Coogler knows his aspirations go further.

You see, Coogler wonderfully espouses a tale of cultural survival, the tenacity to fight for preserving their spirits and freedom without succumbing to the subjugation of homogenization. It’s not simply about keeping vampires out; it’s about retaining the values of a culture that has been ostracized for centuries, and not letting it vanish in the sight of bloodshed and clawed, chewed-up skin. The thematic undertone brings up a fascinating parable: should the black culture succumb to vampirism to escape the torment of white supremacy?

Coupled with some stirring performances and wondrous cinematography, this is a meal we’ll have to come back for regarding leftovers. The music and the horror beat along, almost in unison, with great exuberance. Perhaps one little quibble is how they realize to stand any ground against the swarm of vampires with their weaponry on hand, but it’s relatively minor as you get lost in the mix with pros like Coogler, Jordan, and music composer Ludwig Göransson leading the fold. Oh, and speaking of these three, that’s four for four with these glamorous outings (Fruitvale Station, Creed, Black Panther, and now Sinners), though yours indeed would be tempted to say a complete sweep (even though Jordan only cameoed in Wakanda Forever).

Engrossingly choreographed, stunningly audacious, and permeated with wondrous music, Sinners kicks it into high gear till it (almost) never ends for one night, and that is no sin indeed.