“Careful with vengeance. You never know where the blood will land.”
Well, this was a revenge story if I’ve ever seen one, and a top-tier cast to sell it. Based on an award-winning play from playwright Aleshea Harris, who also penned and directed this adaptation. Apparently, Harris only initially intended to write the script, but through the encouragement of the film’s producers she decided to direct it as well. I like that. After all, who would be better equipped to direct the silver-screen adaptation than the playwright responsible for the play that received three Obie awards (Off-Broadway Theater Awards)? I’ve long been a proponent of the idea that the creator should be involved in any adaptation of their work when possible. And while I can’t speak to any deviation between the film and the play (because I’ve never seen the play), I’m confident that those changes were minimal. Additionally, just as it is important to have the right storyteller, it is equally important to have the right people to bring that story to life. And with Is God Is, I do believe that was the case here, with the likes of Kara Young, an accomplished Broadway and off-Broadway actress with healthy movie and television credits under her belt, as well as Julliard graduate Mallori Johnson.
Twenty-one-year-old twin sisters Racine (Young) and Anaia (Johnson) were burned and scarred as children. Racine has burn scars on her arms, back, and neck, and Anaia has scars on her arms, face, and neck. After receiving a letter in their apartment, they journey to the deathbed of their mother (Vivica A. Fox), who is known as “SHE” or “God” and has scars all over her body. SHE informs them that their father, referred to as “Man”, set the fire that burned the three of them. SHE instructs the sisters to go west to find and kill him for revenge. The sisters embark on a violent journey to face Man (Sterling K. Brown) and his new family (Janelle Monae, Xavier Mills, Justen Ross).
When it comes to selling the idea of being twins, it goes beyond having chemistry. We all associate the idea of twins as being perfectly in sync. We have to have the impression that they can practically read each other’s minds. Young and Johnson move with synchronization, eloquently communicating the deep, unspoken bond of twins—even utilizing stylistically striking intertitles to capture their internal, telepathic “twin speak”. Their individual performances were excellent as well, acting as perfect foils for one another. Young brought out Racine’s brash, aggressive, and fiercely protective energy. As Racine, she is the enforcer, projecting a justifiable anger while Johnson showcased Anaia’s timid, sensitive soul. Bearing the worst of the facial scarring, her performance internalizes trauma, providing a fragile yet optimistic counterweight to her sister’s rage.
Then there is Sterling K. Brown’s performance. I’m not used to seeing him in such a dark role. I think the last time I saw him play a villain was in Supernatural, and even that was more anti-hero than outright villain. However, in this film, there is no mistaking his character’s actions. He is very much a villain. To quote my daughter, he aura farmed that fact. Not sure I’m using that right, but I digress. There is real menace in Brown’s performance, and this is aided by the fragmented way he is exhibited —showing only his hands, back, or mouth. Brown isn’t fully revealed until final act. And when he is revealed, he leveraged his innate, charming, on-screen likability to lull you into a false sense of security before unleashing a terrifying, powerhouse performance as the patriarchal villain. It is then that we see the “Man” that we hear described throughout the twin’s bloody journey.
Speaking of that bloody journey, I really enjoyed the film’s grindhouse aesthetic, as the film is built around classic tropes, such as deathbed blood oaths and frontier justice. The action relies heavily on practical makeup effects and visceral, improvised weaponry, most notably a rock stuffed into a tube sock.
The final act is the film’s real triumph, as it ultimately questions whether executing vengeance heals old wounds or simply consumes the people seeking it, thereby embodying the old adage about revenge: that you best dig two graves. Of course, in the case of this film, there were way more than two graves being dug, as no one escaped the film’s conclusion unscathed. And while the film does feature some visceral death scenes, director Aleshea Harris balances this with arthouse restraint. Leaning on its grindhouse influences, instead of focusing on splatter, the camera lingers on the emotional gravity and physical aftermath of the violence. For this to have been Harris’ first theatrical, she exhibited veteran abilities, and I for one look forward to seeing what she comes up with next, whether it be another revenge thriller or not, because she certainly knows how to make a revenge thriller.
