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Ryan Coogler was deep into writing “Sinners” when he realized the movie was missing something: He needed a moment that would jolt the audience and plunge them into a different space.

“Instead of watching the rest of the movie from here,” Coogler tells me, pointing to his head, “you take them here,” he says, patting his heart. “Like ripping you out of one movie and dropping you into another.”

As a moviegoer, Coogler is addicted to those perspective-shifting moments — Ricky getting shot in “Boyz N the Hood,” Bambi’s mom meeting her demise, the housekeeper returning in “Parasite.”

“I remember every movie that made me say, ‘Yo, what the f—,’” Coogler says. “And I was feeling like

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