Old School. Biblically Independent.
By Mae Abdulbaki | Film | May 19, 2026
The consequences of revenge have long been explored in films. If someone irreparably and unjustly harmed or killed another, does a character have a right to revenge? What does that look like? An eye for an eye might bring closure, but what does the action of vengeance do to someone if the result is more violence? Written and directed by Aleshea Harris, Is God Is examines these questions with curiosity and a passion for answers. It’s a revenge thriller with a deeply moralistic approach, forcing us to reckon with class and the power structures (and the people in them) that protect men.
It follows twins Racine (Kara Young) and Anaia (Mallori Johnson), who don’t always agree on their plan to make their abusive, murderous father (Sterling K. Brown, known only as the Monster) pay for setting their mother (Vivica A. Fox) on fire when they were children and burning them in the process. The revenge isn’t initially theirs; it’s their mother’s (who they refer to often as God), but they vow to hunt him down to appease her dying wish.
Is God Is has an abundance of style that permeates every frame, and while a clear and driven purpose carries it, it’s not conventional in its storytelling approach, opting for a more free-flowing style than a limiting one. The results are refreshing. Certain details, such as Racine and Anaia’s non-verbal twin conversations and potent flashbacks, are memorable, giving the film dynamism that reflects the characters as much as the plot overall.
With so many modern films being redundant, empty, and even bland, Is God Is stands out not only in its dramatic flair but with its immersive visual palette. Cinematographer Alexander Dynan gives us exquisite splashes of color — flames that pop right offscreen, rich and deep shades of brown and green that contrast with the cool blues of the Monster’s house. It’s a visual feast for the eyes and one I couldn’t peel my eyes from.
Revenge is the film’s driving force, but it doesn’t deter Harris’s script from being littered with genuinely funny moments. You can’t have Erika Alexander, playing the truly absurd Divine the Healer, in something and not utilize comedy. Rage doesn’t stand on its own for long, and the film’s drops of humor go a long way in giving the film a nice balance. It also prevents it from leaning too far into its dark side, though it doesn’t abandon it.
The Monster’s actions and demeanor, thanks to a deliciously stirring and terrifying performance from Brown, give Is God Is its own spine-tinglingly creepy moments. What amplifies the horror of these moments is the almost routine normalcy of it all. The Monster, who never comes into focus until the final act, is also just a man, one who changes into comfier shoes when he gets home and pours himself a drink after a long day. On the surface, he’s your average guy, but that’s also the brilliance of his portrayal. Brown’s character could be anyone, and he’s shielded by most everyone — be it because of fear or a genuine desire (fueled by unfounded belief in his goodness) to see past his abuses.
These details play well into the film’s overall themes. Anaia often warns Racine about going too far and becoming what she hates, but it isn’t only talk; Harris shows us what that journey looks like for Racine, especially as the writer-director asks us to question what strength and weakness ultimately mean in the face of revenge. The film reminds us of the humanity behind tales of vengeance, and you’ll be rooting for the final showdown while also feeling profound sorrow for the twins at the heart of the story.
Is God Is is a revenge film with a deeper message. There’s a lot to unpack here, lush, layered themes just waiting to be teased out and discussed. It’s caught between righteous anger and a sharp pain that is so powerfully felt. Harris handles them with a deft hand, expertly oscillating between both. Go into this film ready and willing to be fully immersed; it’ll make the viewing experience that much more enriching.
