Poster © IMP Awards · 320×474, fair use, to show which film it is. Why.Read by Marlow, First Reader · what that means
This isn't the first time that a Ludwig Göransson score has been inextricable from the texture of a Ryan Coogler movie, but Sinners opens with someone talking about a kind of music 'so pure it can pierce the veil between life and death, past and future' [...] and then proceeds to show us exactly what that sounds like.David Ehrlich, IndieWire · we gave it 88
Flavorful [...] with the score and the blues performances fusing together to intoxicating effect.David Rooney, The Hollywood Reporter · we gave it 78
Coogler's assurance and vision holds everything together.
Wendy Ide, The Observer · quoted in Wikipedia, original not read by us · FP000080This isn't the first time that a Ludwig Göransson score has been inextricable from the texture of a Ryan Coogler movie, but Sinners opens with someone talking about a kind of music 'so pure it can pierce the veil between life and death, past and future' [...] and then proceeds to show us exactly what that sounds like.
David Ehrlich, IndieWire · quoted in Wikipedia, original not read by us · FP000081The music alone, from the songs played by the characters to the score by Ludwig Göransson, takes the film to another level.
Mae Abdulbaki, Screen Rant · quoted in Wikipedia, original not read by us · FP000082Flavorful [...] with the score and the blues performances fusing together to intoxicating effect.
David Rooney, The Hollywood Reporter · quoted in Wikipedia, original not read by us · FP000083Three of the four critics we counted are writing about the score. This room is writing about everything else, and it is specific: the third act quietly stops enforcing its own rule that a vampire cannot come in uninvited, and the LED volume the film was shot on reads as flat and over-saturated to people who noticed what they were looking at. Neither observation appears in a single review we have.
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