“Nobody in this corner is the least bit confused or thrown over Sinners. I’m not even occasionally scratching my head over the cultural currents that Ryan Coogler’s film has seemingly stirred. I know exactly and precisely what this super-expensive excursion into early 1930s rural Mississippi Blackitude is (an unabashedly heterosexual Samuel Z. Arkoff popcorn horror film with cunnilingus detours and transportational music sequences) and what it’s tapped into over the last two weeks. Rarely has an exploitation flick connected in such a primal, across-the-board way.” — HE comment-thread retort below yesterday’s “Has Sinners Become An Online Political–Cultural Moment?”