Is God Is Review: A Feminist Revenge Story Where Sisterhood Becomes a Weapon

I saw something on Threads about how Is God Is would be leaving theaters last week, so I booked myself a double feature at the 34th Street AMC theater, where I had to sit in the front row because almost all the seats were sold out. The movie just released on May 15 and is getting great reviews, so I didn’t understand why it would be fading from theaters so fast. But when I checked showtimes today, it was still running in a number of theaters. And that makes me glad. I want a lot of people to see it because it’s an impressive directorial debut for writer and actress Aleshea Harris.

Director Aleshea Harris on set.
Director Aleshea Harris on set.

I think it was probably easier for Harris to translate her vision on-screen since Is God Is started as a play and has been staged multiple times in the last few years, hailed as a bright new voice. The movie’s set in the Dirty South where twin sisters Racine (played by Kara Young) and Anaia (played by Mallori Johnson) work as janitors in an office building. The twins were horribly burned in a fire during their youth, which they don’t really remember, and Racine is left with a scarred arm, while Anaia is less fortunate, having burns all over her face that she can’t hide.

I think it was probably easier for Harris to translate her vision on-screen since Is God Is started as a play and has been staged multiple times in the last few years, hailed as a bright new voice. The movie’s set in the Dirty South where twin sisters Racine (played by Kara Young) and Anaia (played by Mallori Johnson) work as janitors in an office building. The twins were horribly burned in a fire during their youth, which they don’t really remember, and Racine is left with a scarred arm, while Anaia is less fortunate, having burns all over her face that she can’t hide.

Kara Young as Racine (left) and Mallori Johnson as Anaia (right).
Kara Young as Racine (left) and Mallori Johnson as Anaia (right).

The twins are introduced as having fire in their veins, and they tend to their burns with ice cubes during the story in contemplative moments. Apparently, that’s an old home remedy that’s been recommended for lightening burn scars. I don’t know if it really works, but I like the idea that the twins run so hot that they have to physically cool themselves down. The special effects burn makeup was done well and always looked the same from scene to scene. Makeup artist Richard Redlefsen says on his Instagram, “Burn scar makeups always have to have a fine balance between clinical, horror, and in this case beautiful. The sculptural forms really sell the scarring trauma, so less is more. I wanted the scarring to disappear, and we see the real beauty after we meet Anaia and focus on the real meaning of the sisters’ journey. The makeup should be an afterthought.” 

Left to Right: Kara Young as Racine, Vivica A. Fox as God/Mother, and Mallori Johnson as Anaia.
Left to Right: Kara Young as Racine, Vivica A. Fox as God/Mother, and Mallori Johnson as Anaia.

Racine is the twin who got all the mean while Anaia is known as the more emotional sister, and the women are fired from their jobs after Racine loses her temper with an office worker who’s horrified by Anaia’s appearance. With nothing else left to do, the sisters arrive home to find a letter addressed to Racine from their mother, who wants to see them before she dies. The twins grew up in a series of rough foster homes and always thought their mother had died in the fire that had disfigured them. Now they have a mission, and during an evening where they debate options through psychic twin messages (shown on-screen in white handwritten font), they decide they’ll roadtrip to see their mother (played by Vivica A. Fox), who they refer to as God because she made them. I wonder how Harris conveyed the psychic twin dialogue in the play. I’ll have to keep an eye out for future productions so I can see how this is done in the play version.

The movie is a modern Western as the twins travel through the South in their dilapidated car, serving as their horse, with backpacks and a grooming kit each. I love the moments where they’re shown sleeping in their car, brushing their teeth in unconventional places, or peeing outdoors as nods to the old buddy Western films that my dad and grandpa liked. And there’s such a joyful moment as the twins pose and dance beneath the Welcome to Virginia road sign that reminds me of past road trips I’ve been on, the hours or days it takes to cross one state and that spark of happiness you get once you pass the border into a new state.

They arrive at their mother’s house, seeing her on her deathbed as she’s attended to by three helpers who are braiding her hair with nail clicks, reminding me of a Greek chorus in Euripides’s plays (definitely one of the influences on God Is God). Fox gives a commanding performance as she tells her daughters their origin story and how they all received their burn scars from domestic abuse at the hands of their father. This scene gives one of the best pieces of dialogue that’s been going through my head on repeat the entire weekend: “He pull the curtain aside. And just stands there, no smile or nothin. No frown, neither. Face as plain as a slice of wheat bread.”

Then God delivers her last request: Kill him, and make it really bad as revenge for what he did to us. The twins debate this with little dialogue and lots of psychic twin language before embarking on the quest to find their dad in the sunny climes of LA. Their mother provided them with the name of the last woman who played into their father’s hands, and from there, they find his onetime lawyer who got him off of domestic violence and attempted murder charges. Eventually, the twins find where their father lives, in a gorgeous mansion kept neat and tidy by his new wife (Janelle Monáe) with his new perfect family. It’s such a contrast to the twins’ hardscrabble upbringing as they glimpse a pool in the backyard after struggling to find water after a grueling Greyhound bus trip.

Two women with braided hair crouching against a weathered wall in an abandoned space, looking anxious and alert.

There’s lots of violence as the sisters mete out revenge, but I think what’s so chilling is how plain and ordinary their father (Sterling K. Brown) is when they finally meet him compared to the evil he’s caused in the world. He’s still quite sinister in his actions and speech, though he changes into slippers from his outside shoes like he’s Mr. Rogers. It feel like a statement on the nature of evil, showing that it’s all around in the mundane details of life.

This movie brought up intergenerational trauma and is definitely Southern gothic, just like in S. A. Cosby’s novel King of Ashes, and I’m loving how the same themes come up between my reading and viewing. It makes me feel like I’m going in the right direction, my choices coming instinctually, like how you’ll drive on a dark road at night just trusting that the highway will spool out indefinitely in front of you.

King of Ashes Review: S.A. Cosby Sets Family and Loyalty on Fire

I’ve been a fan of S.A. Cosby since I read All the Sinners Bleed a few years ago and gobbled down all of his work. He’s a unique writer with such a distinctive voice, and through the holds list at my library, I was finally able to get my hands on his latest, King of Ashes, which was published a year ago. I think that in itself is a testament to his popularity. His latest novel is about the downfall of a Southern family after their father, owner and founder of the family business Carruthers Crematorium, is left in a coma after his car is hit by a train.

cover of S.A. Cosby's King of Ashes

The whole accident stinks of a setup, since his car was rammed onto the train tracks by a mysterious truck, and Roman Carruthers, the oldest son, is called back to his humble beginnings in Jefferson Run, Virginia. Roman escaped the little hamlet that’s now ridden with gang violence and is currently a rich money manager catering to celebrities and the elite of Atlanta. Besides Roman, there is his middle sister Neveah, who’s now the heart and soul of the family business, albeit reluctantly, and his younger brother Dante, who still lives at home, in a bedroom decorated in posters of rappers and superheroes.

Their father’s coma is just the latest family crisis; the family’s been marked by tragedy since the disappearance and probable death of their mother when they were kids. Roman was just sixteen and on the precipice of losing his virginity when his mother’s car was found on those same train tracks where his dad’s accident took place.

The recent trauma stirs up echoes from their past, and Neveah gets her hands on her mother’s old case files from the police, determined to find out what happened. The rumor in town is that Roman’s father, Keith, killed his wife after discovering that she was cheating on him with the crematorium assistant, and then he burned her remains in one of the business’s ovens so there was no evidence of the crime.

All three of the Carruthers siblings struggle to reconcile with the past while dealing with the family patriarch in a vegetative state, unlikely to ever wake up and function again. At the same time, a very different kind of family exists in Jefferson Run—gangs—and Roman learns that his brother Dante, the ne’er-do-well, has crossed the most fearsome gang in Jefferson Run and they’ve put out a hit on Dante. The Black Baron Boys are led by twin brothers Torrent and Tranquil, who are known for their cruelty. Dante tells Roman about a man who crossed the brothers, then was killed and had his guts turned to food, which was delivered to his baby mama by a driver pretending to be from DoorDash. She ended up eating the food, only to find out she’d scarfed her lover.

Roman now knows who’s responsible for his father’s accident, and he loves his family fiercely and will do anything to protect those who are left. This particular novel hit me really hard since I’m dealing with the downfall of my father, similar to Keith Carruthers lying in a vegetative state. My dad has Alzheimer’s and has been slowly going downhill since about 2018, but now the disease has accelerated and finally got to the point where my mother can’t take care of him. He had to go into a nursing home a month and a half ago, something we tried to prevent for as long as possible, and the guilt is shattering. The details Cosby puts into his novel about the Carruthers dealing with their dying father’s health insurance and eventually moving him into a nursing home are a salve on my soul, making me feel a little bit less alone:

“Are the doctors giving up on him? Is that it? Are you giving up on him?” Roman asked.

“I’m not giving up, I’m thinking of myself, for once. It’s been over a month. His insurance is about to run out. The doctors don’t think he’s going to come out of it. I can’t work myself into an early grave to keep paying for these hospital bills.”

“I can give you money,” Roman said.

“Rome, I love you, but I don’t think I want the money that you’re making nowadays. This is the right thing to do. For him and for us. Are you gonna take him home? Wipe his ass? Change his feeding tube? Because that’s what’s in his future. I’m not trying to be gross, I’m trying to be real,” Neveah said.

“I’ll do anything for him. I’ll move goddamn heaven and earth for him. But that’s not the problem here. We’re a family. When it comes to Pop, we should all talk about this. He … deserves better,” Roman said.

Reading can be therapy, and I definitely felt that with this novel. Cosby knows what he’s writing about since he had to drop out of college in order to move home and take care of his sick mother, according to the Los Angeles Times. He said, “I was also a primary caregiver for my mother.”

S.A. Cosby with a notebook
S.A. Cosby at home with a notebook. Looking at the notebook, I think it might be a Moleskine—a favorite of many writers. Photo by: Sean Pressley for Garden&Gun

Roman wonders about what his dad’s legacy will be and wrestles with ideas of mortality and how he, too, will be perceived in the future. How do you deal with a family secret? Compartmentalize, I guess. That secret is stuck in a special box that doesn’t get paraded around much, but all the Carruthers siblings carry the scars. Neveah dates a married man who treats her like shit, as if she believes this is what she deserves in the world. Roman has a sexual kink, and when tension builds up in him before an important meeting, he hires a professional to get the beating he needs for release. Dante struggles with drugs and alcohol, though he has a silver tongue when it comes to the ladies.

This mortal coil—what’s it all for? So much repetition—bad decisions repeated again and again. On the one hand, we have the Carruthers family who started out hardscrabble until their father got the loan for the crematorium, which became their livelihood, launching them out of poverty. Their father worked there around the clock with his wife assisting once she finished her shifts at the hospital. He was so single-minded that he neglected his wife so she sought affection with others. We see that same determination in Roman—again to make money, just like his father, though he’s traded corpses for shell companies. Then we have the gang family also blinded by greed, adopting young boys to carry out all their evil deeds and ruling by fear.

The ending is bleak, but it feels true and is so Southern gothic, reminding me of Faulkner. 

I’m not sure how long I’ll have to wait for the next S.A. Cosby book, but I think I’ll be somewhat satiated since Barack and Michelle Obama’s production company with Netflix has developed  Cosby’s All the Sinners Bleed into a nine-episode series that’s rumored to premiere later in 2026 or early 2027. (Please let it be 2026!) 

Book cover of 'All the Sinners Bleed' by S.A. Cosby featuring a large orange moon framed by dark tree branches against a blue background.