Without a doubt, Ryan Coogler is one of the most important filmmakers working today. Coogler isn’t even 40 years old and he’s already directed nine films, including Fruitvale Station, Creed, Black Panther, Wakanda Forever and now Sinners. Fruitvale Station was the film which got me to sit up and notice Coogler’s work and people still sleep on that brilliantly done film. Well, Coogler spent years putting together Sinners, his original horror story of vampires in the Jim Crow South. Sinners got phenomenal reviews across the board, and it felt like everyone on my timeline went to see it over Easter weekend. In fact, Sinners dethroned The Minecraft Movie at #1 on the box office. But instead of praising Coogler for creating such a wonderfully original film, this is how everyone’s reporting the success: “‘Sinners’ Is a Box Office Success (With a Big Asterisk); Ryan Coogler’s original horror film was expected to sell a strong $46 million in tickets over the weekend, enough for No. 1. But its profitability remains a long way off.” That’s from the NY Times, but the trade papers took similar angles: sure, Sinners won the box office, but why isn’t it profitable yet???
“Sinners” sold an estimated $46 million in tickets in North America from Thursday afternoon through Sunday, box office analysts said, a terrific result for an original, R-rated, slow-burning horror drama set in the 1930s and rooted in Black culture. Reviews were rapturous.
But the film — directed, written and produced by Ryan Coogler — was expensive, analysts noted, costing Warner Bros. at least $150 million to make and market worldwide. The studio also agreed to demands by Mr. Coogler’s representatives for unusually generous compensation.
As a result, for Warner Bros. to make money, “Sinners” will need to attract substantial crowds in the weeks ahead. “It’s an excellent opening for a period horror film, except that it’s hard to call it completely successful because of its enormous budget,” David A. Gross, a film consultant, said in an email.
In a statement, Pam Abdy and Mike De Luca, co-chairs of Warner Bros. Motion Picture Group, said they were “thrilled” by the “stellar” turnout. “Warner Bros. Pictures remains committed to bringing singular in-theater experiences to audiences looking for bold movies, both original and those based on beloved existing properties,” they said.
This is the root of the problem, according to the Times, the trade papers and Hollywood’s white gatekeepers: “The studio also agreed to demands by Mr. Coogler’s representatives for unusually generous compensation.” That sentence pisses me off more than I can even verbalize. Coogler’s films have already crossed $2 billion cumulatively. Coogler didn’t “demand” anything – he has a proven track record of returning studio investment, and he negotiated a deal similar to what Quentin Tarantino negotiates. The deal being: Warner Bros gave Coogler $90 million to make Sinners, Coogler gets a front-end percentage of box-office receipts AND ownership of Sinners reverts back to him after 25 years. Basically, a Black filmmaker with a proven track record of successful films negotiated a great deal for what many thought was a passion project which would have next to no audience. They’re mad that Sinners is already successful and will continue to be successful as a word-of-mouth hit.
Entertainment media is being weird over a Black-directed movie again, example #4532
(Btw each of these articles are written by non-Black journalists)
— Juwan H. ✍🏾 (@juwanthecurator.bsky.social) April 20, 2025 at 3:49 PM
Photos courtesy of Avalon Red.
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- LONDON, ENGLAND – APRIL 14: Hailee Steinfeld attends the European premiere of “Sinners” at Cineworld Leicester Square on April 14, 2025 in London, England. (credit to Lounis Tiar / Avalon Red),Image: 988016650, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Lounis Tiar/Avalon
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- LONDON, ENGLAND – APRIL 14: Ryan Coogler attends the European premiere of “Sinners” at Cineworld Leicester Square on April 14, 2025 in London, England. (credit to Lounis Tiar / Avalon Red),Image: 988030735, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Lounis Tiar/Avalon
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- LONDON, ENGLAND – APRIL 14: Jack O’Connell attends the European premiere of “Sinners” at Cineworld Leicester Square on April 14, 2025 in London, England. (credit to Lounis Tiar / Avalon Red),Image: 988031264, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Lounis Tiar/Avalon
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- Michael B. Jordan attends The European Premiere of ‘Sinners’ at Cineworld Leicester Square, London, England, UK on Monday 14 April, 2025.,Image: 988058484, License: Rights-managed, Restrictions: Please credit photographer and agency when publishing as Justin Ng/Retna/Avalon., Model Release: no, Credit line: Justin Ng/Avalon
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- Ryan Coogler attending the Sinners European Premiere at the Cineworld in Leicester Square, London, United Kingdom,Image: 988218962, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Cat Morley/Avalon
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- Michael B. Jordan attending the Sinners European Premiere at the Cineworld in Leicester Square, London, United Kingdom,Image: 988221689, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Cat Morley/Avalon
See also: Barbie. Made over a billion dollars, was hugely respected and every bit of praise was grudging except for Ryan Gosling’s Ken, deafening absence of Oscar noms again except for Gosling. Didn’t you know Hollywood success is only for white men?
Barbie was nominated for Best Picture. I know some on here think it should have gotten more noms, but BP is nothing to sneeze at. at all.
Given the academy just changed the rules to “ensure” all of the nominated film are actually watched by voting members, I’d say BP was something to sneeze at. Congrats to everyone involved with Sinners. The papers and critics might not like the film, but movie goers are voting with their dollars.
Nope. The only thing Barbie didn’t get was Best Director and Best Actress noms at the Oscars, which it didn’t deserve btw, fun as it was.
The bullshit around Sinners is in NO WAY similar to the way Barbie was received AT ALL.
The way white women are still trying to victimize Greta Gerwig and Margot Robbie over that “snub” when they still got nominations and made a bazillion dollars is something else.
Not that sexism isn’t a problem in Hollywood but using these incredibly successful movie and white women as an example is beyond silly. And telling.
Stay mad racists! Bravo Mr.Coogler👏🏽👏🏽👏🏽
Holyc***, it’s just so unequivocally racist. Here we have yet another example of an amazing POC filmmaker overcoming structural racism only to smack into, “Wahhh, where are the white people on scrreeeeeenn?”
💯
Say what? The “legacy media” and entertainment trade papers were being racist gatekeepers and minimizing the success of a black filmmaker? Not shocking but still infuriating to witness. And still people will claim that legacy media isn’t biased racist and effed up about certain people. Love seeing this success.
Jim Crow lives on in legacy media. In entertainment, in sports, and in politics. So here we are.
They’re upset that he’s demanding his worth and isn’t satisfied being the mule for other people’s success. I saw more articles about his deal and the ” audacity” of him asking for and getting it than this but it all ties together. How dare he expect to be compensated based on merit and own his intellectual property. It’s one or the other we can pay you well but we own it in the end, or you can own your intellectual property and we’re only going to pay you $5 for using it.
It sucks for anyone but it’s wild coming from people who are upset that a director that has literally made billions of dollars in profit for movies he’s directed and has had over a dozen Oscar nominations for his work. By all metrics why wouldn’t he get this deal, other than the obvious? And why wouldn’t it be likely his movie is successful?
It’s only audacity when people of color and women ask for what they are worth. If he were a white guy they would be applauding his deal-making, his confidence, his brilliance, his negotiation skills.
It’s exhausting.
I don’t recall James Cameron getting near this kind of grief. If a POC director had been as hard to work with, he/she would have no career. 🙄🙄
Yes exactly! how dare a Black man in Hollywood demand the same as a white man, box office success and award nominations be damned.
I hadn’t intended to see this bc I dont like horror films but now I might just to spite these critics.
Same. I don’t do horror. Or anything too bloody in a theater. I can sometimes watch at home and ff the bloody parts bc I do watch the new IWTV and love it. But now I just want to buy tix to support.
No studio would agree to make the film if they didn’t think the film would be profitable so why the asterisk line, like it’s somehow Coogler’s fault they agreed to his terms? It’s so beyond obvious there’s a different set of standards at play here. The dude is a very talented film maker with a proven track record. He wasn’t exactly a huge gamble and he deserves everything that’s coming to him.
This is reminding me of the time Shonda Rimes asked for one or two more tickets to Disneyland.
It reminded me of that too.
It’s opening weekend FFS! Variety did this sh@t too and got rightfully called out on it. QT had the same budget for OUATH and that filled got praised. People did a side by side comparison and it was written by the same WW. Ben stiller was amongst many who called them out and they ended up changing the headline.
The gate keeping was loud and clear. Black people ALWAYS have to keep proving ourselves. My timeline was filled with people who loved this film. I’m not a horror fan but I’m tempted to see it.
The Wall Street Journal accused Coogler of being “too Marvelized/franchise-minded” to pull this movie off “successfully.” 🙄🙄🙄🙄🙄
They keep moving the bar for Black and female directors. The way white men get to fail/underperform in Hollywood and still get opportunities is a pretty good reflection of America as a whole, despite being perceived as a liberal/left town.
Don’t forget George Clooney showing his ass.
Yep. Always reshape the narrative if you can’t control the game. IIRC, Chris Nolan got the moon and the stars from WB, but he was regarded as a deal-and- creative genius. He would have been praised to the skies for a deal like this.🙄🙄
@Nikki: This line right here: “The way white men get to fail/underperform in Hollywood and still get opportunities…” 🔥🔥🔥
I have special insight. Like I said, cant say who Im married to but my hubby is a B+ list actor closing in on A (we hope).
He said Hollywood is mad and yes, racist about ANY power being taken away from the white hollywood “bros” but MOSTLY because Coogler has a deal where he gets ALL the rights to his movie in like 20 years, much like the deal Prince had with Warner Bros to get his masters back after 30 years. Coogler, a black man, came in and changed the game just like Meghan did with the Royal Family, and they cant take it. Hamilton, Serena, Meghan, Coogler, all hated because they are black, excellent and have changed the game.
Thank you for that insight.
That anger and resentment is coming through so loud and clear, with a heavy dose of “how dare they!”
It’s clear now how much Hollywood as far back as I remember was run by white dudes, giving a hand up to younger white dudes who reminded them of themselves, who then gave a hand up to still more white dudes. And while some of them may have some talent, the unbroken chain gatekeeping that stifled any other voices was constant.
If I never see another Coppola/ Scorsese brotherhood of awful dudes doing lifetimes of criminally awful shit or Spielburg-esque boy story or JJ Abrams-bro-pod watered down not as clever as they think take on someone else’s IP film I will be happy.
Keep going Coogler and others!
This makes sense. They can stay mad
Thank you for adding this – it’s important context. I heard an interview with Ryan Coogler where he talked about why he negotiated the final ownership of the movie rights to revert to himself after a period of time, and yeah, it is very akin to why musicians who have the power to negotiate ownership of their own songs/ master recordings want that. Of course, not every director will have this option, but (for example) I don’t remember all of these publications wringing their hands when Quentin Tarantino did the same thing.
Also, for what it’s worth, the only reason Coogler can own these rights is because it is his own original story, not based on existing IP. It’s not a prequel, a sequel, or a reboot – these exact same legacy publications have been lamenting the death of original films and how much trouble the movie business is in these days. You would think they would want to celebrate a success – just not this success, apparently.
Coogler is a brilliant, ambitious director. I’ve loved him deeply since Fruitvale Station(still MBJ best performance in my opinion but I’m seeing Sinners tonight so that might change).
I love how all of Coogler’s work centres American Blackness and is an exploration of these themes.
Listen, the shady headlines aren’t because Coogler is a black director or because he is a black man who demanded ownership of his work(though Coogler did state that part of the reason he wanted the rights of the film to revert to him is because the theme of sinners is black ownership) but what Coogler’s deal represents to the studio system, which is, a threat.
You pointed out Tarantino’s deal but that is an outlier. Directors rarely get to own their work in Hollywood. The studio owns the film rights basically forever and much of a studio’s value isn’t driven from box office but the value of their vaults/catalogues. That is what someone is buying when they buy one of these major studios.
The other studios were FURIOUS at Warner Brothers for agreeing to this deal. And WB at the time was in deep shit for various reasons which made the deal appealing to them though they knew it would piss off the industry. Basically, they all fear more directors/writers seeking ownership of their projects and what that means for the industry. That’s why Hollywood media is playing down Coogler’s success. They don’t want any other artists at this top tier getting any ideas.
I highly recommend the vulture piece that explains this or any of the pieces that have been written on WB’s woes or the politics of this. . https://www.vulture.com/article/to-hollywood-the-scariest-part-of-sinners-is-ryan-coogler.html
Oh, can’t be racism, right?
Were there any “the scariest part of QT’s success is that it will give people ideas?” headlines when Tarantino’s films were making bank with those deals? Or is it just now that RC is so successful and making his way that that TPTB feel threatened.
Not saying racism isn’t at play here. racism is ALWAYS part of it. But here the story is likely more about the money and studio control. That vulture piece was written earlier this weekend before the headlines dropped and the stories about WB have been around for years.
That’s a lot of words to defend racism.
No, racism is at the root of this anger.
The studios do not want POC directors having anywhere near Nolan power. They are used to them being forever for-hire and therefore subject to endless notes that turn good projects to crap.
@Sunny, two things can be true at once. I totally believe what you’re saying about the studio people being upset about Coogler upending the system, but the racism is just as much a part of this. Not only is he upsetting the status quo, but he’s a black man doing it. ‘How dare he!’ This really annoys them, and I love it!
I want going to see it in the theater because as much as I love horror movies, I get really scared. So now I will make sure to go just to support Coogler with my box office dollars. My poor husband is just going to have to deal with me squeezing the life out of his hand during scary scenes.
@Sunny: I think you’re right. Racism is definitely at play here, but there’s a larger power change that is very scary to a status quo that is already undergoing A LOT of change right now (Hollywood/Los Angeles is in shambles at the moment).
As far as “where were the articles when Quentin Tarantino did this”, that is a good question, but I’d say the answer is that QT already had power and was an “accepted” big name. The idea of someone that could be considered to be an indie director (I personally don’t think that at all, especially since he’s literally directed Marvel movies, but whatever) angling for power and ownership… that could definitely inspire what current and future directors start asking for, start standing up for themselves to advocate for, start literally seeing their own worth instead of accepting crumbs and whatever “the powers that be” deign to give them. This could be a systematic shift in the types of conversations and negotiations and deals that start happening. Possibly no turning back now, and the studios preferred it when they could say yes and no whenever and however they wanted to. Just my two cents!
Someone said Sophia Coppola had the same deal for Lost in Translation…
And also, the studio system died in the 1940s, a system that at its best was toxic, and worst, involved using the actors in sordid ways unrelated to producing art or whatever.
May 2025 see people lose the need to tell Black people when something is or isn’t racist. An act which also contributes to the ecosystem of racism.
Given today’s costs, $150 million for both production and distribution doesn’t seem particularly crazy.
I hardly watch movies anymore and I realized it’s because they are all made from the white male perspective. 90% of the authors I like are women and half of those from a different culture/country. The gatekeepers are losing money with their racism.
If you haven’t seen the movie yet, please run to your closest IMAX asap. I saw it on Sunday night and can’t stop thinking about all the history, music, and mayhem Coogler was able to masterfully weave together in this film. In fact, we are planning on seeing it again this weekend. Let our dollars show the gatekeepers what they can do with their gate keeping!
I figured I would watch it when it got to streaming, but I am definitely going to the theater now that I’ve seen how bothered the old white guys are.
It looks like it’s pretty gory/violent (which fits with the subject matter but still). I’m so bummed that I can’t watch it, unless it’s not as explicit as I’ve heard.
The first hour of the movie is setup (incredibly done). I would say 20-25% is gory, but obviously it’s part of the narrative. But the movie itself is much more about history and the power of music. Maybe see the movie and hold your hands to your face during the scary parts? 😀
@Soni – I watch movies on fast forward such that my takes end up sounding like Shirley from Community: “It’s cute. It’s a 30-minute film about a group of friends who like cheeseburgers, dancing and the Bible.” 😀
We saw Sinners on Friday. I could not wait 2 of my favorite things vampires and blues! It was well done and I loved it. I highly recommend.
Saw the movie, loved it and got the soundtrack.
Glad people are noticing this hate campaign and are calling it out, including Ben Stiller calling out Variety.
Stiller is a real surprise. Wonder what made him take up this fight…
I saw it Saturday & liked it a lot! Especially the music, but it was too long… sigh
This movie was so freaking good. That’s all I got.
The microaggressions. A white director would be hailed for his negotiation skills but because it’s Ryan Coogler, he made demands.
Funny how there was not a peep when Nolan demanded twice this budget and final decision for Oppenheimer and now Odyssey.
Not a peep.
I praised the film in the comments in a yahoo article and some moron accused me of only liking it because of….white guilt. WTAF????
White supremacists are so threatened by anyone who doesn’t march in lockstep with them. They secretly know they aren’t superior, and so they lash out at any signs confirming it.
Wonder what demented old white lady (DoWL) said it might end the whole studio system. That’s some serious power he has!
Lmao like yes, now that one Black filmmaker has successfully negotiated eventual ownership of his work, the need for the infrastructure a studio provides for big budget films (financing, physical production, distribution) will completely disappear 😆
He hasn’t missed yet. He knows his worth, asked for it and got it. Everyone likes to talk that it’s all a meritocracy, well he earned it. Go sit down somewhere with your jealousy.
They are setting up to make sure Sinners has no run for award season. They saw this film is a guarantee for original screenplay and best director, best picture and they don’t want that. At all.
I know what I’ll be seeing this weekend!
I wonder why they are not praising him as smart, business-savvy like they did with Margot Robbie 😂😂 That is a pretty good deal he got and he couldn’t get that without his work record.
Really hope we can get to the theater to see this this weekend….
Stay pressed, White Guys.
The movie is about cultural appropriation, and colonialism, and racism, and Jim Crow, and hit dogs are hollering in Hollywood.
In late 1998? 99 maybe, my husband and I went to the opening of a new art house theater. Eve ‘s Bayou was the movie. All black cast and crew. It was wonderful. Setting and photography so good I could smell the hot, humid Louisiana summer. Acting so real, so good. Not one review could I find next day. Went out of sight . I wonder if it was released today it would make an impact. If you can find it, please watch.