THE BLUES AREN’T THE SAME in Sinners, Ryan Coogler’s soulful foray into period horror, a genre so few people, if at all, would associate with his work. That being said, the film, set against a Southern backdrop so obstinately Jim Crow, is most identifiably his, replete with striking Black imagery and well-observed critiques of America’s racist roots — like if Colson Whitehead wrote a bluesy rendition of Demon Night or Assault on Precinct 13.