“Is God Is” follows two sisters who embark on an epic quest for revenge, confronting a charged family history that will push them to extraordinary lengths. It’s based on writer-director Aleshea Harris’ 2018 Off-Broadway play of the same name.
Fractured Bonds and Shifting Styles
There’s no momentum within “Is God Is.” Harris strikes gold with the central dynamic between Racine and Anaia, but doesn’t know what to do with it. Instead, the film ends up rambling through a string of incoherent scenarios that don’t emphasize their bond as twins enough. It cuts the most important moments short, while extending unnecessary ones well beyond their means. What results is a lopsided movie that can’t decide what it wants to be.
“Is God Is” features a unique style — mostly through the unique connection these twins share. There’s narration. There’s telepathic communication through onscreen subtitles. There’s split screens to showcase their duality. The film throws many ideas onto the screen in the hope that one will stick.
The storytelling isn’t always chronological here, intertwining monochromatic flashbacks that provide backstory. Rather than showing entire memories at once, it leaves them fragmented for dramatic effect. Alexander Dynan’s cinematography is also effective, framing shots to intentionally obscure identities and faces. This leaves “Is God Is” with a distinct visual aesthetic.
Revenge Without Direction
The first 30 minutes are where the movie is at its best. The initial buildup of the twin dynamic is electric, with Kara Young (Racine) and Mallori Johnson (Anaia) bouncing off each other to perfection. When providing backstory about their tragic past and seeing how that has drawn them closer together, the film feels purposeful. Once it forays into revenge, however, it does not.
This is largely because the “revenge” aspect itself feels hollow. While the leads have motivation, it’s never fully explored. And when their reasoning is questioned, it’s never fully fleshed out. This leaves “Is God Is” without much identity — trying to be a heartfelt drama, intense thriller and even… a spaghetti western? There’s a lot going on, and what’s most important typically gets lost in the shuffle.
As the film reaches its midway point, there’s no sense of direction remaining. Even with only a 99-minute runtime, long stretches of the middle act grow increasingly thin.
Eventually, “Is God Is” gets back on track. In its examination of trauma, self-image and identity, it succeeds. While these aspects are pushed to the side in the middle act, they once again take center stage as the conclusion nears. Like other key scenes, the ending is rushed. But… these themes do at least radiate through.
Tension Beneath the Chaos
Young and Johnson prove to be the movie’s saving grace. Young is definitely the “louder” of the two, playing a more in-your-face and confident character. Johnson is subtle, emphasizing the distance that Anaia feels from the surrounding world. Both actors heighten these character differences to generate contrasting personalities. Whether they’re simply talking or fighting for their lives, the pair makes this connection feel authentic.
Sterling K. Brown (the Monster) and Vivica A. Fox (Ruby) also deliver memorable bouts. Neither has enough screen time, but both chew up the scenery for very different reasons.
When “Is God Is” aims to be intense, it is. The film contains unexpected brutality, with plenty of bloodshed. But it’s not even these moments that are most effective. Rather, it’s simple exchanges of dialogue that carry the most tension. While Harris’ script can bounce around too much, it’s highly effective when grounded in simplicity.
Unfortunately, this isn’t always the case. There are multiple noteworthy sequences that define “Is God Is.” Everything else around them is scatterbrained, however. So, a message does resonate, but not often enough for it to actually be impactful.
“Is God Is” has the characters but not a meaningful story to house them. Powerful themes emanate from key scenes, yet it’s the surrounding filler that overcrowds the messaging in between.
Rating: 2.5 out of 5
