There are very few filmmakers with a track record as strong asRyan Coogler’s. It’s not just that Coogler has never made a bad movie; he’s never made a movie that fell short of greatness — and he often faces insurmountable odds. He made aRockymovie that shifted the focus to a new underdog boxer. He made a sequel to a groundbreaking Best Picture nominee that he had to rework from scratch following the tragic and untimely passing of his star. And every time, he’s managed to deliver a movie that’s massively entertaining, deeply moving, and filled with interesting themes.
Much like Steven Spielberg, no matter what genre he’s working in — whether he’s making a sports movie or a superhero movie or a gangster movie that turns into a supernatural horror movie —Coogler is always the same master visual storyteller exploring human characters and universal emotions. Coogler andhis go-to leading man Michael B. Jordanhave produced five stellar movies so far, ranging from the eye-popping spectacle of theBlack Panthermovies to the harrowing true story ofFruitvale Station. From the beginning ofFruitvale Stationtothe end ofSinners, Coogler has made his mark as a true visionary.
Although it’s arguably Coogler’s weakest film,Black Panther:Wakanda Foreverisn’t a bad movie by any stretch; it’s actually one of thehighlights of the MCU’s hit-and-miss Phase Four.Very few movie productions have faced the uphill battle that Coogler’sBlack Panthersequel did. Coogler had written a completely different version of the sequel before his title star, Chadwick Boseman, sadly passed away. This forced Coogler to start from scratch and retool the sequel’s story to pass the torch on toT’Challa’s sister, Shuri. And despite this unspeakable behind-the-scenes tragedy, Coogler managed to deliver one of Marvel’s best post-Endgamemovies.
Rather than pivoting away from Boseman entirely,Coogler channeled the filmmakers’ and the audience’s collective grief into a touching tribute to the late actor.Wakanda Foreveropens with the eponymous nation mourning the loss of their king. The sequel isn’t quite as tight as its predecessor; the flooding of Wakanda’s capital city would’ve made for a better climactic sequence than the CG-heavy final fight on the warship and, while Dominique Thorne is great as Riri Williams, Ironheart feels shoehorned into this already-overlong movie. Still,Wakanda Foreverhasa delightfully complex villain in Namor, and it’s a beautiful tribute to Boseman.
Coogler gave Marvel Studios its first Best Picture nominationwith the firstBlack Panthermovie in 2018. After T’Challa had been introduced inCaptain America: Civil War, his debut solo adventure solidified him as one of the MCU’s most exciting new heroes. Very few MCU movies go beyond their surface-level comic-book spectacle to explore deeper themes, butBlack Pantheris a poignant commentary on colonialism. Erik Killmonger isthe MCU’s answer to Heath Ledger’s Joker; his methods are questionable, but he actually has a point. Killmonger wants to use Wakanda’s resources to flip the horrors of colonialism on the colonizers.
It was the first proof that a Marvel movie could be more than just superficial blockbuster entertainment.
There are a few small but noticeable imperfections that preventBlack Pantherfrom ranking as one of Coogler’s absolute best movies. The final fight between T’Challa and Killmonger doesn’t hit as hard as their initial deathmatch, because the weightless CGI takes out all the impact, and the climactic battle as a whole feels very formulaic.Nevertheless,Black Pantheris one of the greatest superhero movies ever made. It was the first proof that a Marvel movie could be more than just superficial blockbuster entertainment. Superhero stories are the modern myths, and Coogler captured that perfectly with T’Challa’s first solo outing.
Coogler’s latest cinematic opus,Sinners, is one of his most ambitious films, one of his most fiercely original films, and one of his finest films. LikeEverything Everywhere All at Once,Sinnersmanages to balance a bunch of disparate genres at the same time— it’s simultaneously a gangster movie, it’s a horror movie, it’s a musical, and it’s a Jim Crow-era historical drama — and it pulls them all off spectacularly. The story of twin gangsters returning to their Mississippi hometown to open up a juke joint would’ve worked brilliantly as a straightforward drama even if the vampires never showed up.
FACT:Sinnersgrossed $48 million in its opening weekend (viaBox Office Mojo).
Sinnersis oozing with style, but that style is backed up by just as much emotional and thematic substance. It’s a blood-drenched, action-packed gangsters-versus-vampires movie, butit’s also a thoughtful meditation on racism, mortality, U.S. history, and artistic expression. Coogler’s usual collaborators are firing on all cylinders inSinners. Cinematographer Autumn Durald Arkapaw shoots gorgeously on film, Ludwig Göransson provides a typically mesmerizing musical score, and production designer Hannah Beachler and costume designer Ruth E. Carter craft a living, breathing portrayal of 1930s Mississippi. Coogler’s first original blockbuster is a bona fide masterpiece, and a showcase for his singular imagination.
Coogler successfully reinvigorated theRockyfranchiseand kickstarted a wave of legacy sequels with 2015’sCreed. He introduced Apollo Creed’s long-lost son Adonis as a new up-and-coming fighter preparing for his first big match.Creedis a retelling of Rocky Balboa’s own story with a twist; Donnie is another underdog trying to make his name on the boxing circuit, but unlike Rocky, he has a legendary name to live up to. Donnie doesn’t just have to prove he can hold his own in the ring; he has to live up to the iconic legacy of the father he never knew.
Creeddoesn’t deviate far from the established formula of these kinds of movies — there’s a world-famous challenger, an uplifting training montage, and an emotional final fight — but it does exemplify why that formula works. These stories arean inspirational metaphor for any difficulty faced in life. Donnie’s quest to overcome adversity and self-doubt and become a champion could be used to represent any struggle that anyone has gone through. Coogler understands this story well. He copies the most crucial dramatic element ofRocky: it was never really about boxing; it’s a love story that happens to revolve around a boxer.
Coogler has made nothing but great movies since his directorial debut, but his first film still holds up as his best work.Fruitvale Stationtells the harrowing true story ofthe events leading up to a police officer’s murder of 22-year-old Black man Oscar Grant. Michael B. Jordan’s three-dimensional portrayal of Grant established a long-standing working relationship with Coogler that continues to this day. As much as it’s a rallying cry against police brutality and the institutional racism and systemic corruption that led to Grant’s death,Fruitvale Stationis a celebration of Grant’s life. Coogler walks that fine line masterfully.
Ryan Coogler has since explored a wide range of stories and genres, butFruitvale Stationremains his masterpiece.
Coogler’s approach to dramatizing this shocking incident is incredibly effective. Rather than dwelling on the murder itself,Fruitvale Stationfocuses on humanizing Grant. It’s more of a character study than a true crime story. It chronicles the day leading up to the killing, showing his relationships with his girlfriend, his daughter, and his mother, and his struggle to find steady work. The film doesn’t shy away from portraying Grant’s flaws; it depicts him as a real human being with depth and dimension.Ryan Cooglerhas since explored a wide range of stories and genres, butFruitvale Stationremains his masterpiece.
