Posts Tagged Jack O’Connell

Sinners (2025) Review: A Blend of Horror and History

Sinners, directed by the visionary Ryan Coogler, is a masterful fusion of historical drama and supernatural horror. Set in the 1920s, the film follows the journey of twin gangster brothers. Elijah “Smoke” Moore and Elias “Stack” Moore are portrayed with magnetic duality by Michael B. Jordan. Their dream is to open a juke joint. It’s a vibrant club where Black people can gather to drink and dance. They revel in the transformative power of music there. This establishment becomes a sanctuary for plantation workers. It offers them a rare escape from the harsh realities of their daily lives.

The plot delves deeply into the socio-political tensions of the era. The spectre of racial discrimination looms large. The Ku Klux Klan is also a significant and sinister force. Coogler deftly weaves social commentary into the narrative. He uses the supernatural as a lens to explore themes of oppression. He also explores themes of resilience. Vampires arrive adding a chilling layer of intrigue.

Music is the lifeblood of Sinners, and it pulses through every frame of the film. The blues, often linked with the devil’s influence in folklore, takes centre stage. Miles Caton delivers a breakout performance as Sammie “Preacher Boy” Moore. His haunting guitar riffs and soulful vocals captivate not only the audience but also the vampires themselves. The soundtrack features blues, gospel, jazz, and even Irish folk music. It is composed by the Oscar-winning Ludwig Göransson. Traditional songs like “This Little Light of Mine” and “Rocky Road to Dublin” are reimagined with a haunting beauty. Original tracks like Hailee Steinfeld’s “Dangerous” and Miles Caton’s “I Lied to You” add emotional depth and authenticity.

Movie poster for _Sinners_, directed by Ryan Coogler, featuring Michael B. Jordan as Elijah 'Smoke' Moore against a dramatic sunset backdrop, with the tagline 'DANCE WITH THE DEVIL'.
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The dance sequences are another highlight, serving as a powerful form of cultural expression and emotional release. These scenes are electric, brimming with raw energy and sensuality, capturing the uninhibited joy and passion of the era. The choreography is unapologetically bold, celebrating the physicality and intimacy of dance as a form of rebellion and connection.

Hailee Steinfeld’s Mary emerges as a compelling and complex character. She is Stack’s former lover, and her return stirs up unresolved emotions and conflicts. Mary’s biracial heritage becomes a focal point in her character arc, as she shares her struggles with identity and acceptance. Her decision to remain at the juke joint despite challenges highlights her resilience. Mary’s journey through the film explores themes of belonging, identity and defiance.

Wunmi Mosaku’s Annie adds a layer of mysticism and emotional depth to the narrative. Annie, Smoke’s estranged wife, is deeply connected to her faith. Her rituals are believed to protect Smoke and Stack from harm. Her spiritual practices contrast sharply with Smoke’s pragmatic outlook, creating a poignant dynamic. Her tragic backstory, including the loss of their daughter, imbues her character with vulnerability and strength. Annie’s influence is felt throughout the film. She convinces Smoke to lower entry prices at the juke joint. This emphasizes her empathy for the struggles of the community. Her sacrifice during the climactic battle against the vampires is heroic. It is also heart-wrenching. She stays true to her love and her promises.

Jack O’Connell’s Remmick is a standout as the film’s primary antagonist. An ancient Irish vampire, Remmick exudes a chilling allure that is both terrifying and captivating. His motivations originate from a deep sense of loss. He wants to spread his dark influence. These factors make him a complex and compelling villain. O’Connell’s performance is electrifying, blending menace with moments of sincerity that hint at the character’s tragic past. His connection to traditional Irish music and dance adds a unique dimension to his character. This makes him a haunting and unforgettable presence.

Coogler’s direction is both bold and meticulous, with stunning cinematography that captures the gritty elegance of the era. The film’s climax is a tour de force. It blends horror and historical commentary. This combination is both thrilling and thought-provoking. Just when you think the story has reached its conclusion, you get surprised by a post-credits scene. It delivers a jaw-dropping twist that will leave audiences buzzing.

Sinners is a visceral journey through history, music, and the supernatural. It is a testament to the power of storytelling and a celebration of the resilience of the human spirit.

By Pat Harrington

Picture credit: By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=77948449

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Unbroken (2014)

Director: Angelina Jolie. Starring: Jack O’Connell, Domhnall Gleeson, Jai Courtney, Finn Wittrock, Garrett Hedlund, Alex Russell. 15 cert, 137 min.

Unbroken has had mixed reviews. It has divided the critics. I’m on the side of those who really like the film. At its core is a moral message of perseverance, resilience and the vital importance of forgiveness. It’s a true story about the resilience of the human spirit.

So why the bad reviews? I had to wonder if some in the media just don’t like Angelina Jolie! Is it because she is a powerful woman or seems to have a social conscience? I don’t know. It is incredibly unfair to her talents and what is a great story, well-told in any case.

The story is based on the incredible life of Olympian and war hero Louis “Louie” Zamperini (Jack O’Connell). It owes much to Laura Hillenbrand’s exceptionally detailed and superbly written book.

I found the flashbacks to the early life of Louie fascinating. I must confess that I had never heard of him in relation to the 1936 Berlin Olympics. I’d hazard a guess that the only Olympian most people would know from then is Jesse Owens. He is referenced in the film also. Jesse won four gold medals. Germany topped the medal table with 89 (33 of which were Gold). The USA came second overall.

In WWII Louie survived, with two other crashed airmen, in a raft for 47 days. He was then caught by the Japanese Navy and sent to a brutal prisoner-of-war camp. Either of these events might have finished any ordinary man!

Louis, however, is in every sense of the word a survivor. He overcomes incredible odds and always seems to have that last burst of energy when you think that it must all be used up – whether in a race or under torture. He wins not by any great cunning or skill but by outlasting his enemies. Some don’t understand why his running got such attention in the film but for me it was obvious. The same qualities of endurance and perseverance he displayed on the track are what gets him through the war. Indeed, one of the key phrases in the film is: “If I can take it, I can make it.”

Though there are different ‘sections’ of the film: the ’36 Olympics; surviving on a raft and enduring brutal imprisonment there is a unity displayed in the attitude of Louis which at base is spiritual. It never felt divided to me even though there are distinct sections. It is as if the three different stories simply express the same basic truth.

Japanese actor Miyavi (also a famous pop singer in his native Japan) plays the brutal POW camp commander known only to the men as “The Bird.” He is a cultured, effeminate thug. There is an element of hinted at and possibly suppressed homosexuality (as in Merry Christmas Mr Lawrence) which gives a peculiar edge and is all the more frightening for that. Miyavi operates on the level of inference and implication more than direct threats. Far more subtle. The torture he inflicts on Louie is harrowing and reminded me of scenes from the Railwayman.

Jack O’Connell is great. I kind of knew when I saw him in ‘Skins’ (as Cook) that he would be (but I would say that wouldn’t I?). Nothing he has done since has done anything but confirm my view. Jack is versatile and convincing in all that he does. Now the Americans know about him I am afraid he will be stolen away.

I do have one criticism of the film. The last part of Hillenbrand’s book is about Louie’s obsession with inflicting a bloody revenge on his tormentor. It is skipped in the film which only shows his forgiveness. Like grief, however, there is a process to forgiveness. There are stages to go through. If you don’t show the full process then when you watch Louis running with the Olympic torch in Japan and waving at onlookers you don’t fully understand what an amazing personal accomplishment that was or what a journey he has been on.

Reviewed by Pat Harrington

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