Rising from the shadows and sinking its teeth into an otherwise predictable spring box office, Sinners has arrived with blood on its fangs and a point to prove. Directed by Ryan Coogler and starring longtime collaborator Michael B. Jordan in a dual role, the film has exceeded industry expectations to deliver a US$61 million global debut: US$45 million from North American audiences and another US$15 million overseas.
A Minecraft Movie might have dominated headlines for weeks and earned another US$59 worldwide this weekend, but Sinners edged it out of the top spot, staking a claim on the charts with surprising authority. With a production budget reportedly north of US$90 million, Coogler’s latest effort needs to hit around US$200 million globally to break even.
However, early indicators, including a near-perfect 98% critic score and 97% audience score on Rotten Tomatoes, plus a rare A grade from CinemaScore (the highest CinemaScore for an original R-rated horror movie ever), suggest strong legs ahead. Comparisons to other recent genre entries only sharpen its edge. A Quiet Place: Part II and Five Nights at Freddy’s both landed A- scores and cleared US$300 million globally. Sinners, currently outperforming expectations and critical benchmarks, has positioned itself to join that club.
Warner Bros. appears to be all-in on Coogler, especially as it eyes a new creative anchor following Christopher Nolan’s exit to Universal. As part of the studio’s broader strategy, Sinners not only received a wide IMAX rollout but was also part of an unusual deal: rights revert back to Coogler after 25 years. His filmography, from Fruitvale Station to Creed and Black Panther, has earned both critical and commercial acclaim. Even Black Panther: Wakanda Forever, often viewed as his most uneven outing, still holds an 84% on Rotten Tomatoes and an A CinemaScore.
Jordan’s performance has drawn widespread acclaim, playing dual roles that underscore the film’s central themes of class, sacrifice, and the corrosive cost of power. Comparisons to Jordan Peele’s Get Out and Nope are inevitable, especially with Sinners leaning into horror to explore systems of oppression. Coogler’s film reflect the world and dissects it, framed through flickering lanterns and sinister rituals. For a genre outing that threads horror through sociopolitical commentary, such numbers aren’t just promising — they’re disruptive.
Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.
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