Joey Magidson
The Sunday Scaries are upon us once again! Yes, as the weekend concludes, most of us feel an oncoming sense of anticipatory dread about the week ahead. Anxiety about work manifests itself into a feeling that’s known as the Sunday Scaries. However, we at Awards Radar are here to combat that, by taking back the name. Now, we want you think about a horror-centric piece on the site when you hear the term. So, let us continue on with another installment of the Awards Radar Sunday Scaries! Today, we’re looking at the Oscar worthiness, as well as the potential awards road ahead, for the horror film of 2025….
Sinners is all the rage right now, and rightly so. Not only does it have among the best reviews for any film in 2025, it’s the first to actually be drumming up conversation throughout audiences, not just the industry. The former has made it part of the cultural zeitgeist, elevating filmmaker Ryan Coogler to that of a true A-list director, while star Michael B. Jordan, already white hot, is even hotter. As for the latter, that’s begun to turn into early Oscar talk. A big budget horror flick at the Academy Awards? Well, last year may have paved the way…
As a reminder, this only begins because Coogler, Jordan, and company made an excellent movie. My four star rave review here on the site began like so:
Okay, listen up folks. For anyone who ever complains that Hollywood never does anything original, Sinners is for you. This is the type of film that spits in the face of those who say cinema has nothing new to offer. By taking one of the oldest movie monsters there is, spinning them on their ear, and filtering it through a setting/time period that’s never utilized them before, and you have something completely singular. There has never been anything quite like Sinners. Not only is this 2025’s first truly great blockbuster, it’s also the best film of the year so far.
Sinners absolutely rocks. Bloody, horny, musical, and full of genre-bending on the part of filmmaker Ryan Coogler, it’s all the right kinds of audacious. What begins as a light period drama, with plenty of reverence for the power of music, it slowly but surely transforms into horror, with the third act becoming an actual bloodbath. Through it all, there’s impeccable technical aspects, first rate acting, and a true feeling that you’re watching the full possibilities of film. Coogler makes movies for the big screen, with Sinners being just the latest example of an event picture, meant to be seen with the best sound and on the biggest screen possible.
In that same review, I also wrote about its deservedness for Oscar attention, stating:
In a just world, Sinners would be an Oscar contender above and below the line. Now, being an early year release, as well as being an expensive film that may struggle to make back its money, will prove challenging. Still, the movie should be up for Best Picture, Best Director/Best Original Screenplay for Coogler, Best Actor for Jordan, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing, Best Makeup & Hairstyling, Best Sound, Best Original Score, Best Visual Effects, and the newest category of Best Casting. Yes, the flick is just that good.
Here’s the thing. When I wrote that review, it seemed far less likely that Sinners would be taken seriously by the Academy, despite last year’s horror success. Now, the film is showing staying power at the box office, remaining in the conversation among both audiences and pundits, as well as just feeling like a cinematic event. There’s something in the air with this movie, which actually gives it a leg up on the biggest horror efforts of last year that wound up Oscar nominated. Nosferatu had that sort of cache pre-release, and somewhat post, but not like this, while that fright flick only ended up with technical citations. The Substance took a far more independent route, going from the Cannes Film Festival and that circuit to awards glory. For this one? Coogler and company may just be able to ride the wave, especially if it doesn’t crest anytime soon.
Sinners could and should be a main priority this season for Warner Bros. Now, they’ll also be heavily campaigning Paul Thomas Anderson‘s One Battle After Another, but both titles can coexist without any issue. In fact, a rising tide could lift both ships, helping them become an Oscar one two punch. For Sinners, as long as it can be taken seriously by voters throughout the season, above the line and below the line love is very possible. Some voters may not even think about it as a horror work, but if they do, we’re now at the point where that could matter less than ever before.
Time will tell if Sinners can hold on, of course, but the early momentum is promising. If WB supports it and the precursors are kind, truly anything is possible. There isn’t necessarily a blueprint here, but if the film can be a top tier player like The Substance while also being a below the line player like Nosferatu, blending those two Oscar-nominated (winning in the case of the former) titles, then we’ll be in uncharted territory. So, strap in…
Stay tuned for another Sunday Scaries installment next week!
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