Film Review – Is God Is (2026)

      Is God Is, 2026.

      Written and Directed by Aleshea Harris.

      Featuring Kara Young, Mallori Johnson, Sterling K. Brown, Janelle Monáe, Vivica A. Fox, Erika Alexander, Mykelti Williamson, Josiah Cross, Aleshea Harris, Xavier Mills, and Justen Ross.

      **SYNOPSIS:**

      Two sisters set out on a profound quest for vengeance, grappling with a complex family history that pushes them to remarkable extremes.

      Racine and Anaia, depicted by Kara Young and Mallori Johnson, respectively, are twin burn survivors with differing levels of severity. They describe themselves in Aleshea Harris’s Is God Is (a debut feature derived from her stage play) as the bold one and the reserved one. While it's possible to infer which one is more visibly affected based on the limited details shared, it's clear that the sister with visible scars on her face and upper body has been relatively introverted since childhood, while the other often finds herself in fights as she defends her bullied sister.

      While a revenge story unfolds quickly, the narrative equally emphasizes sisterhood, the cruel perceptions and harsh comments faced by those who appear divergent from societal norms, and the long, challenging journey toward self-acceptance and confidence. Anaia frequently experiences dehumanizing treatment from strangers to colleagues, often made to feel as though she shouldn't participate in public life or work, akin to being labeled a monster. Even during intimate moments with her unseen client, he cannot bring himself to look her in the eyes, opting instead for a less direct approach.

      The film presents an interesting twist: the real monster is not the sister with scars but the one responsible for their pain. He is portrayed as a quietly menacing character, played by Sterling K. Brown, who initially burned their mother in an act of casual cruelty, while the daughters try to intervene (these flashbacks use muted colors, making the blood stand out sharply). This portrayal speaks to the long history in cinema of casting those with facial differences as sinister villains.

      The sisters are also estranged from their mother, who they refer to as God (played by Vivica A. Fox), and have received a letter from her in her dying days with one chilling request: make their father dead, dead, dead! Unsurprisingly, Racine is fully onboard, believing it is overdue. Conversely, Anaia is conflicted about the implications of vengeance, feeling increasingly detached from her sister as the idea of killing their father becomes more real. She represents not just the quiet sibling but also the voice of reason.

      The sisters share a bond that visually manifests through telepathic communication depicted with subtitles in lowercase letters, which adds an attitude to their exchanges, alongside symmetrical cinematography by Alexander Dynum. This bond is tested throughout their journey. It’s refreshing to see a film that blends depth with visual style.

      Their quest leads them to confront a religious cult leader (Erika Alexander), a lawyer (Mykelti Williamson) who enabled The Monster to escape punishment, and a new family, including Janelle Monaé's character, whose twins add a layer of dark comedic mischief. The film has a slow burn with dark humor, especially targeting religious institutions in its first half. While some lines may come off as cheesy (at one point the sisters declare they are the hands of God), the pacing remains brisk as it navigates various locations and scenarios, incorporating moments of humor that escalate into violent encounters, illustrating the sisters’ evolving connection. By the time the third act arrives, the telepathy dissipates, marking a shift in their relationship dynamic.

      With a thrilling conclusion serving as an excellent culmination of bold and creative direction, complemented by a captivating spaghetti-western-inspired score by Joseph Shirley and Moses Sumney, as well as a talented cast infusing their roles with distinctiveness, Is God Is proves to be engaging. Its blend of bloodshed and humor is anchored by a thoughtful narrative that explores both sisterhood and the quest for self-definition as an outsider.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

      Robert Kojder