Pressure review

PRESSURE: 

TENSE WAR FILM CONTINUES THE BRENDAN FRASER RENAISSANCE! 

By Nico Beland

Movie Review: *** ½ out of 4

FOCUS FEATURES

Brendan Fraser in Pressure

 

            Andrew Scott (1917, Blue Moon, Wake Up Dead Man: A Knives Out Mystery) and Brendan Fraser (The Mummy trilogy, The Whale, Rental Family) team up to plan the Normandy landings during World War II in Pressure, the new film from Anthony Maras (Hotel Mumbai) and his first film as a director since 2018. Sure, I was down to see this when I saw the trailer, though A24’s Backrooms was a much higher priority, but now that it’s already been reviewed, I can finally talk about the Brendan Fraser WWII movie. 

            I am so happy that we’re in kind of a Brendan Fraser Renaissance lately. He was in 2022’s The Whale, which won him a Best Actor Oscar, and just last year, he starred in the equally superb Rental Family. Even in the days of George of the Jungle and The Mummy, I’ve always enjoyed Fraser as an actor, but the past few years have really skyrocketed his career back. 

            So, does Pressure continue his recent streak in the Fraser Renaissance? The answer is yes! 

            This is a really solid war drama with a lot of tension and strong character moments that are carried by the performances of Scott and Fraser. It’s also a war movie that isn’t exactly about the war itself, but the preparations for what would be known as D-Day. 

            The film is set in June 1944, 72 hours before D-Day, and follows Scottish meteorologist, James Stagg (Scott), being recruited by General Dwight D. Eisenhower (Fraser) to determine the weather on the day of the Normandy landings. Through clashes and conflicting methodologies between Stagg and American forecaster, Colonel Irving P. Krick (Chris Messina-Julie & Julia, Air, Juror #2), and D-Day getting closer, Stagg and Eisenhower will have to make an impossible decision: launch the largest and most dangerous seaborne invasion in history or risk losing the war. 

            The film also stars Kerry Condon (Dom Hemingway, The Banshees of Inisherin, F1) as Kay Summersby, Damian Lewis (Band of Brothers, Billions, Once Upon a Time in Hollywood) as Bernard Montgomery, Henry Ashton (Creation Stories, My Lady Jane, A Good Girl’s Guide to Murder) as John Eisenhower, Con O’Neill (The Last Seduction II, Telstar: The Joe Meek Story, The Batman) as Air Chief Marshal Trafford Leigh-Mallory, Robert Portal (The King’s Speech, My Week with Marilyn, Mr. Turner) as Bertram Ramsay, Daniel Quinn-Toye (Sunny Dancer, Voltron, Cry to Heaven) as Michael Gregory, Toby Williams (Paddington, Sex Education, Death in Paradise) as Bryant, and Max Croes (A Working Man, American Sweatshop) as Private Eugene Shaw. 

            Overall, Pressure is a powerful and riveting war film that’s more cerebral than an explosive spectacle. This is less Saving Private Ryan and more like The Imitation Game, with the focus being on people strategizing and trying to prepare for a big invasion to win the war, so don’t go in expecting non-stop gunfire, explosions, and carnage. 

            It’s actually not even about D-Day itself, but instead the entire plot of the film revolves around the weather of D-Day, which is a factor you don’t often think about when going into a war. The driving force of the movie is these two different and conflicting predictions of what kind of weather it will be between Andrew Scott’s Stagg and Chris Messina’s Krick, with the clock ticking closer and closer to D-Day. 

            It’s a very dialogue-heavy movie with several scenes of people planning the Normandy landings and determining what the weather will be like on that day, and it’s never boring. I was locked in and invested in every single one of these people, trying to figure out how to pull this landing off and win the war. 

            The performances are stellar, and while I know we’re currently in the Brendan Fraser Renaissance, it’s actually Andrew Scott who steals the show. He is magnificent as James Stagg, this smart, calculating person who isn’t particularly respected amongst Eisenhower’s people because he tells them things they don’t want to hear: “The weather is going to be awful on D-Day” and is butting heads with Chris Messina’s Irving P. Krick over what they’re going to report, he commands the scene every time he’s the central focus. 

            Brendan Fraser is also great as Dwight D. Eisenhower in probably the most commanding performance in his career, which makes sense considering Eisenhower was a General-turned-President. Like Scott, Fraser owns every scene he’s in, whether he’s barking orders to his troops or confronting his own personal dilemmas. Watching and listening to him interact with Scott, Messina, or any of the other supporting cast members was a blast. 

            Pressure is an exhilarating, intriguing, and phenomenally acted movie that explores a different, less epic side of World War II, but still just as endearing. It has amazing acting, a smart and engaging plot, and phenomenal acting by Scott and Fraser, all leading up to a war strategy I won’t be forgetting about anytime soon. 

Tuner review

 Coming Soon!

Backrooms review

BACKROOMS: 

A CREEPY AND FASCINATING TRIP INTO THE UNKNOWN! 

By Nico Beland

Movie Review: **** out of 4

A24

Renate Reinsve in Backrooms

 

            A furniture store owner and his therapist discover a mysterious dimension of endless liminal spaces in Backrooms, the new horror film from A24 and directed by YouTuber Kane Parsons in his feature film debut. The film is based on Parsons’ 2022 webseries of the same name, which in turn was inspired by the creepypasta also of the same name. 

            The movie looked interesting when I saw the trailers, which didn’t show much outside of people discovering the backrooms and something terrifying lurking inside. Also, we’re currently in this sweet spot for horror movies with this, Obsession, and Hokum, which came out earlier this month, and YouTubers making their jumps from computer and phone screens to the big screen. 

            Bottom line, it got my interest and became a priority watch when it was released, and…damn! Horror fans are eating well between this and Obsession. Backrooms is amazing and as fascinating as it is frightening, I was glued to the screen from start to finish. 

            The film follows Clark (Chiwetel Ejiofor-12 Years a Slave, Doctor Strange 1 and 2, The Life of Chuck), a down-on-his-luck furniture store owner who discovers a door to a strange dimension in the basement of his store. It turns out, this dimension is an endless liminal space of uncanny hallways and malformed furniture known as the Backrooms, but as Clark and eventually his therapist, Dr. Mary Kline (Renate Reinsve-Sentimental Value), venture deeper into it, the more nightmarish and terrifying it becomes. 

            The film also stars Mark Duplass (Creep 1 and 2, Safety Not Guaranteed, Tully) as Phil, Finn Bennett (True Detective: Night County, Warfare, A Knight of the Seven Kingdoms) as Bobby, Lukita Maxwell (Generation, Shrinking, The Young Wife) as Kat, Avan Jogia (Caprica, Zombieland: Double Tap, Resident Evil: Welcome to Raccoon City) as Naren Warne, and Krista Kosonen (Jade Warrior, Princess, Blade Runner 2049) as Nora Kline. 

            Overall, Backrooms is a chilling, surreal, and engaging experience with an interesting premise, some very tense sequences, and even some thought-provoking subject matter. I was locked in during a lot of this movie and was on the edge of my seat, wondering what was going to happen and how everything would come together by the end. 

            The movie looks incredible in terms of the production design, with much of the film being shot in an empty, maze-like office set with digital effects to enhance, which really gives this sense of claustrophobia and the unknown as you’re watching the film. I can see this film striking a chord with people who are claustrophobic because the way the backrooms look and are filmed is genuinely frightening. 

            The film also utilizes some found-footage moments where certain scenes are shown from the perspective of a cameraman, and I honestly found these sequences to be the most tense and scariest parts of the whole movie. Despite found-footage being overused to death, Backrooms found a way to inject new life into that filmmaking trope, even if it isn’t 100% the entire film. 

            For the most part, Backrooms leans into suspense and psychological horror, but there are elements of body horror, and while nowhere near as grotesque as a film like The Substance, it’s pretty unsettling. That’s all I’ll say. There are definitely some weird body horror scenes and images in the movie that will stay with me. 

            The performances by Chiwetel Ejiofor and Renate Reinsve are stellar, especially the former; Ejiofor really sells his performance as a man who’s clearly on edge, not just in the backrooms but events outside the backrooms as well. Even before he discovers this unknown series of rooms in his shop, he’s the kind of person where one little push is enough for him to completely lose his mind, and the backrooms are gonna make things much worse. It's one of the best performances from him I’ve seen in a while. 

            Renate Reinsve is also magnificent as Clark’s therapist, who ends up in the backrooms later on in the film, just a level-headed therapist trying to help him out, and as he’s explaining what he discovered to her, she rightfully doesn’t believe until she begins experiencing it for herself. Her character also has a past that’s glanced at at certain points in the movie, and ultimately comes to terms with it once she enters the backrooms. She’s easily the most normal character in the film, but the latter half is where she really shines. 

            I will say, as much as I love this movie, I felt the runtime could have been cut short a little. The film is an hour and 50 minutes, and with constant slow-burning scenes without many straight-up scares. It’s not a huge issue and doesn’t ruin the movie, but I think the film in general would have been better paced had it been trimmed down to 90 minutes with fewer scenes that drag. 

            Despite some minor runtime issues and a few things about the ending that I’m a little torn on, I enjoyed the hell out of Backrooms and found it to be a genuinely unnerving, clever, and fascinating horror movie. Like I said, this and Obsession are feeding horror movie fans good to the point where I completely forgot that Passenger came out recently. 

Passenger review

PASSENGER: 

JUST DRIVE AWAY FROM THIS STANDARD HORROR MOVIE! 

By Nico Beland

Movie Review: ** out of 4

PARAMOUNT PICTURES

Lou Llobell and Jacob Scipio in Passenger

 

            A couple is about to learn the horrifying lesson to never drive at night in Passenger, the new horror film from director André Øvredal (The Autopsy of Jane Doe, Scary Stories to Tell in the Dark, The Last Voyage of the Demeter). I’ve only seen two of Øvredal’s previously directed projects, those being Scary Stories to Tell in the Dark and The Last Voyage of the Demeter, and I liked both. Scary Stories was a solid adaptation of the books that inspired it, and Demeter was a really interesting and epic Dracula film; he clearly puts a lot of craftsmanship into his work. 

            I didn’t have any expectations with his next film, Passenger, though the teaser trailer definitely got my attention, which only showed two guys driving in the dark, pulling over so one of them can pee, and then some supernatural force terrorizes them. Regardless of how good or bad I think this movie is, that trailer made me want to check it out. 

            Sadly, despite a few solid scares and decent performances, Passenger is a pretty lousy horror flick and so far the worst film I’ve seen from André Øvredal. It’s certainly not the absolute worst horror film I’ve seen in 2026 (Psycho Killer and Return to Silent Hill are currently my #1 and #2 worst movies of the year), but I cannot believe a film with this much potential and talent could be wasted on standard genre tropes and cheap jumpscares. 

            The film follows Maddie (Lou Llobell-Voyagers, Foundation) and Tyler (Jacob Scipio-Bad Boys 3 and 4, Without Remorse, The Unbearable Weight of Massive Talent), a couple on a road trip who witness a terrible highway accident. But when they make the boneheaded decision of stopping and getting out of the car after seeing the accident, Maddie and Tyler become haunted by a demonic entity that has latched itself onto them. 

            The film also stars Melissa Leo (The Fighter, Prisoners, The Equalizer 2) as Diana Marsh. 

            Overall, Passenger had the potential of being a truly spine-tingling and creepy movie revolving around driving in the dark, but instead, it wastes its premise on tired horror tropes and predictable storytelling. Of course, the opening scene of this film is the part shown in the teaser, but to give it a little bit of credit, it is an awesome way to start the movie off, as it is a genuinely frightening and effective sequence followed up by a grisly airbag payoff. 

            There’s another standout moment later on in the movie with Lou Llobell in a parking lot trying to get to the van, and it mysteriously keeps getting farther away from her the more she gets closer. That was probably the best sequence outside of the beginning scene from the teaser, and it was really suspenseful and knew how to time the scares well. 

            I’ll also say that despite the subpar material, Lou Llobell and Jacob Scipio give decent performances as the couple. They aren’t like the most deep or complex horror protagonists, but I bought their chemistry, and they weren’t annoying as balls like a lot of other standard or downright garbage horror films. 

            Unfortunately, only a few effective scares and fine performances aren’t enough to make up for Passenger’s shortcomings because this film goes downhill pretty quickly after having so much promise and an amazing opening scene. The movie just hits every tired beat from other horror movies, obligatory jumpscares, lore that makes absolutely no sense, the wise character who knows what’s going on so, you know is going to be killed off by the end, people constantly making stupid decisions and not in a fun way like The Cabin in the Woods or Obsession, it all comes off as lazy even with a creative idea like this. 

            Even the monster/killer’s design is pretty uninspired; he just looks like some dirty, weird guy who also sometimes has Freddy Krueger powers as a ghost or demonic spirit. I’m not saying it has to be something so outlandish like the Smile demon, but make The Passenger a memorable movie monster and something moviegoers won’t forget, he could have been a new horror movie icon. Sadly, the film surrounding him dropped the ball. 

. I don’t know, guys; I’m struggling to even remember and gather cohesive thoughts on Passenger. If you absolutely gotta see this, then I’ll call the film “An A-List or Unlimited Movie,” where if you have AMC A-List or Regal Unlimited and you’ve seen everything else, I guess there’s no hurt in seeing this if you’re the teeniest bit curious. 

Me personally, I’d rather drive as far away from this movie as possible and never look back. It’s a generic, tired horror movie that wastes its premise on tropes and recycled storytelling. Also, Passengers starring Chris Pratt and Jennifer Lawrence was better! 

            

I Love Boosters review

I LOVE BOOSTERS: 

BOOTS RILEY’S FRANTIC AND CHAOTIC CRIME FLICK! 

By Nico Beland

Movie Review: **** out of 4

NEON

Naomi Ackie, Taylour Paige, and Keke Palmer in I Love Boosters

 

            A group of fashion shoplifting criminals targets the business of Demi Moore (A Few Good Men, G.I. Jane, The Substance) in I Love Boosters, the second film from director Boots Riley (Sorry to Bother You). I saw Sorry to Bother You shortly after it came out in 2018, and I never did a full review of it. I’ll give my quick thoughts on his first film before diving into this. 

            I initially didn’t get into it when I first saw it and was completely unprepared for how weird it becomes, but I thought more about it and appreciated the themes surrounding its bizarreness and upon rewatching it for the first time since, I freaking love Sorry to Bother You now and consider it one of the most unique comedies in recent years. I mean, a movie about a black telemarketer using a white voice and finding out the company he works for is turning people into genetically enhanced horses as an allegory for slave labor has to get points for originality and absurdness. 

            Now that I’ve grown to appreciate Riley’s previous film and I have an idea of what to expect with his filmmaking style a little, I was all-in for I Love Boosters. The movie looked pretty wild from the trailers, but surely it wouldn’t be as insane as the film about workers turning into mutant horse people…oh, it is! 

            I Love Boosters is fucking crazy and does what Sorry to Bother You did for the workplace for the fashion industry. Sure, there aren’t any people transforming into horses in this movie, but there’s still plenty of absolute insanity and surreal ideas to make you laugh, scratch your head, and keep your eyes glued to the chaos-filled screen. 

            The film follows Corvette (Keke Palmer-Nope, One of Them Days, Good Fortune), Sade (Naomi Ackie-Star Wars: The Rise of Skywalker, Blink Twice, Mickey 17), and Mariah (Taylour Paige-Zola, The Toxic Avenger (2023), Beverly Hills Cop: Axel F) better known as the Velvet Gang, a group of criminals who regularly shoplift from the Metro Designers fashion chain run by designer Christie Smith (Moore) and sell the stolen clothes at a discount to make ends meet. But when Christie publicly lambasts the Velvet Gang as “Low class urban bitches”, Corvette, Sade, and Mariah, join forces with Metro Designers employee fighting against poor working conditions, Violeta (Eiza González-Baby Driver, Alita: Battle Angel, Ambulance) and another mysterious clothing criminal known as Jianhu (Poppy Liu-Hacks, iCarly, The Tiger’s Apprentice) to not only steal Christie’s fashion, but take down her entire business. 

            The film also stars LaKeith Stanfield (Sorry to Bother You, Uncut Gems, Judas and the Black Messiah) as Pinky Ring Guy, Will Poulter (The Revenant, Guardians of the Galaxy: Vol. 3, Warfare) as Grayson, Don Cheadle (Ocean’s trilogy, Marvel Cinematic Universe, Flight) as Dr. Jack, and Kerris Dorsey (Brothers & Sisters, Moneyball, Ray Donovan) as Jamie. 

            Overall, I Love Boosters is an absolutely wild ride that finds Boots Riley once again subverting audiences’ expectations with what kind of movie he’s making, whether it’s about a black telemarketer or a group of “Boosters” sabotaging the business of a fashion giant. It’s pure, unhinged insanity projected onto the screen…and I was laughing and loving every minute of it, which is crazy considering how I did not fully appreciate Sorry to Bother You until I revisited it recently. 

            This is a hard movie to talk about without going into spoilers, and I do not want to ruin any of the shocking and weird moments in the film for you because it’s best to just let the movie play out and have you react naturally. It definitely has that Sorry to Bother You tone when it comes to the humor and its commentary with visual gags, bizarre situations, and constantly leaning into the strange and unusual. 

            One thing I admire about Riley’s filmmaking is that even before he drops the crazy bombshells on us, the worlds he creates are already pretty odd, even when they’re supposed to be a normal setting. Demi Moore’s character has an office that’s literally tilted as if she’s being filmed by the cameraman who shot Battlefield: Earth for absolutely no reason, and keep in mind, this is before all the insane shit goes down, which leads to a lot of great physical and visual gags in a short amount of time. 

            The plot is about as surreal as Sorry to Bother You, where it starts off being about one thing (In this film’s case, a group of burglars trying to take down a fashion mogul) and, halfway through, it stops trying to be a real movie and goes straight into pure mindfuckery. If this were any other movie from a different director, I would normally see this as a negative, but because Boots Riley himself is such an oddball with an incredibly active imagination, I admire his craftsmanship and how he brings his unhinged and crazy ideas to the screen in ways that could even make Tim Burton blush. 

            All the performances are great, with Keke Palmer and Demi Moore being absolute scene-stealers, Palmer as a Booster who’s also an aspiring fashion designer, and despite all the insanity that happens, it brings a lot of humanity and sometimes heart to the film. Demi Moore is a lot of fun as a snooty, successful fashion designer who you just want to see have her empire crumble by the end, like an actually evil version of Meryl Streep’s Miranda Priestley from The Devil Wears Prada, and just as witty as her to boot. 

            I Love Boosters continues to surprise me with Boots Riley’s growing filmography as he continues to take simple premises we’ve seen before and completely turn them on their heads in the most chaotic and bonkers ways imaginable. It’s funny, engaging, and still retaining plenty of his signature weirdness, absolutely worth watching if you know what you’re getting into. 

            I Love Boosters…and I also love this movie! 

Star Wars: The Mandalorian and Grogu review

STAR WARS: THE MANDALORIAN AND GROGU: 

A FUN BUT GENERIC ADVENTURE IN A GALAXY FAR, FAR AWAY! 

By Nico Beland

Movie Review: *** out of 4

LUCASFILM LTD

Mando and “The Kid” in Star Wars: The Mandalorian and Grogu

 

            Mando, Baby Yoda, and Star Wars return in The Mandalorian and Grogu, the latest film in the Star Wars saga and the first Star Wars movie since The Rise of Skywalker in 2019. The film is directed by Jon Favreau (Zathura, Iron Man 1 and 2, The Jungle Book (2016)) and is a continuation of the Disney+ series, The Mandalorian, which was released from 2019-2023. 

            I really liked the Mandalorian show, well…mainly the first two seasons, and thought it was a refreshing entry in the Star Wars franchise, especially after a letdown sequel trilogy. Basically, a Star Wars version of a western, and unlike Solo: A Star Wars Story…people actually watched it and introduced a bunch of memorable new characters and ideas in the franchise’s mythos. 

            I actually watched Season 3 for the first time recently before seeing this movie, and…it’s fine, it’s definitely a huge step down from the earlier seasons, but I didn’t think it was bad and ended on a decent note. Which brings us to this movie, and I didn’t really have any expectations going into it. 

The Star Wars films have been pretty bumpy to say the least, especially after Disney acquired it with a very strong starting point with 2015’s The Force Awakens and an ultimate fumble with the already mentioned Rise of Skywalker that closed the sequel trilogy off. Despite that, Star Wars has seen a lot of success with their TV and streaming shows, including The Mandalorian, Andor, The Bad Batch, and the new Darth Maul animated series that just came out, maybe now is a perfect time for the Star Wars films to come out of hibernation and bring that magic back…The Mandalorian and Grogu doesn’t quite do that! 

This isn’t a bad film, and there are moments of fun and creativity, but I found a lot of it to be pretty standard. With that said, the charm of its titular characters does carry the film despite its flaws. 

The film is set sometime after the last episode and follows Din Djarin/The Mandalorian (Pedro Pascal-The Unbearable Weight of Massive Talent, Materialists, The Fantastic Four: First Steps) and his apprentice, Grogu being enlisted by the New Republic and their Ward (Sigourney Weaver-Alien franchise, Galaxy Quest, Avatar franchise) to rescue a Hutt known as Rotta (voiced by Jeremy Allen White-The Bear, Springsteen: Deliver Me From Nowhere, The Social Reckoning) in exchange for information on a mysterious new target. Yeah, that’s about it, and they stretch it out for 2 hours and 12 minutes! 

The film also stars Jonny Coyne-Alcatraz, Once Upon a Time, The Toxic Avenger (2025)) reprising his role as Janu Coin, the film’s co-writer Dave Filoni reprising his role as both Trapper Wolf and Embo, Steve Blum (Cowboy Bebop, Final Fantasy VII: Advent Children, Wolverine and the X-Men) reprising his role as the voice of Garazeb “Zeb” Orrelios, film director Martin Scorsese (Taxi Driver, GoodFellas, Hugo) as the voice of…Hugo the shopkeeper and Matt Willig (Year One, We’re the Millers, Birds of Prey) as Hogsbreth. 

Overall, Star Wars: The Mandalorian and Grogu is far from being the worst Star Wars movie, and there are some great aspects about it, but it’s still a pretty mid-entry in this franchise that never really takes the series anywhere new. Favreau has shown many times before that he has talent both in front of and behind the camera and is more than capable of crafting something engaging and entertaining (Elf, the first Iron Man, the first two seasons of The Mandalorian, etc.), so I just find it baffling that a Mandalorian movie directed by the man who basically started the Disney+ series could be so generic. 

Everything is kind of going through the motions and not really taking The Mandalorian or the Star Wars franchise in general to new heights. Most of the stuff in this movie was already done and done better in the show, the mission, the side quests, all of it, because the show actually made you care for the characters and what their conflicts were. 

I’m actually struggling to remember what Mando’s goal even was in this movie aside from collecting information on a target. There wasn’t really any character growth for him, and I actually got far more development out of the three seasons of his show than I did in this. 

To Pedro Pascal’s credit, he still plays the Mandalorian very well, and his charisma does shine through whether he’s kicking ass or interacting with Grogu or any of the other characters. His charm works well enough, even if this movie does him dirty compared to the show a lot of the time. 

I did enjoy Steve Blum’s performance as the voice of this New Republic pilot who joins Mando on his quest quite a bit, and I’m not just saying that because I’m a huge fan of his work. His vocal delivery, snark, and wit really brought that character to life, and it was an absolute delight hearing his voice come out of movie theater speakers. 

The action sequences are fine, though it’s the typical spaceships shooting lasers at other spaceships that we’ve seen in other Star Wars movies. For the most part, they’re shot and choreographed well, and the practical and CG effects do look good. 

The film itself, though, is pretty damn ugly and murky in terms of the visuals, with constant dark greens clouding the scenes and dimmed lighting. I don’t know what Favreau, Disney, or the visual effects team were thinking when making the color scheme so drab, especially compared to how vibrant and colorful other Star Wars movies and even the Mandalorian series are, which took me out of it and is probably my most glaring issue with the production. 

I also felt the movie was too long, and I can pinpoint the exact moment when it started to drag for me; it was when a character gets poisoned and is slowly dying, and the film spends a lot of time on another character trying to get the supplies needed to save them. It actually made me miss the long Pod Race from The Phantom Menace or the Sand talk from Attack of the Clones; that part was so dull. 

I’m just barely giving this film a positive review because The Mandalorian and Grogu is not a bad movie; it is perfectly fine for what it is, and those looking for big-screen Star Wars thrills will likely get their fill. But coming off the series that started to breathe new life into Star Wars, I expected better. 

Is God Is review

IS GOD IS: 

A BLOODY, WILD ROAD TO REVENGE! 

By Nico Beland

Movie Review: **** out of 4

MGM AND ORION PICTURES

Kara Young and Mallori Johnson in Is God Is

 

            Two sisters visit their dying mother, who asks them to kill their father in Is God Is, the feature film directorial debut of Alesha Harris and a revenge thriller adapted from Harris’ play of the same name. I was onboard for this the moment I saw the trailer. I love these grainy, Tarantino-esque revenge movies with witty dialogue and pools of blood spurting out of people with a very Blaxploitation feel in a lot of areas.

            This definitely seemed like a Jackie Brown meets Kill Bill and Thelma & Louise buddy movie with emphasis on blood-drenched revenge. I’ve never seen the play the film was based on, but after seeing this, I’m curious to check it out. 

            Is God Is is a really damn good movie and entertaining from beginning to end, it’s tension-filled, darkly comical, and completely fucking insane. It was an enjoyable watch for me, chaotic and crazy, while still having strong character moments between the two leads. 

            The film follows Racine (Kara Young-Chemical Hearts, Master, I Love Boosters) and Anaia (Mallori Johnson-The Other Zoey, Steal Away), two sisters who visit their dying mother, whom they call God (Vivica A. Fox-Independence Day 1 and 2, Set It Off, Kill Bill). Their mother, God only has one request for Racine and Anaia before she dies, “Make their daddy dead…like, real dead!” after he set her and them on fire and abandoned them, Racine and Anaia set course for a violent and chaotic manhunt to kill their father (Sterling K. Brown-This Is Us, Black Panther, The Marvellous Mrs. Maisel). 

            The film also stars Erika Alexander (The Cosby Show, Get Out, American Fiction) as Divine the Healer, Janelle Monáe (Moonlight, Hidden Figures, Glass Onion: A Knives Out Mystery) as The New Wife, Mykelti Williams (Forrest Gump, Ali, Fences) as Chuck Hall the Lawyer, and Josiah Cross (King Richard, A Thousand and One, Lady in the Lake) as Ezekiel. 

            Overall, Is God Is is a wild and bumpy ride for retribution in the best way and one of the most consistently entertaining films I’ve seen all year. It didn’t have a low point at all during its runtime and kept this non-stop and frantic energy going all throughout the flick. 

            One thing the movie does that I thought was extremely clever is when Young and Johnson are completely silent and give each other little facial expressions to communicate with subtitles on the screen to say what they’re saying to one another. Just goes to show, even without speaking to each other, Kara Young and Mallori Johnson have incredible chemistry, though I must say, I really hope those subtitles onscreen were written by a black person. 

            Kara Young and Mallori Johnson are amazing as the two sisters and do a stellar job working off each other, with Young as the unhinged, wild card of the duo and Johnson as the quieter, more restrained sister. I love hearing their banter with one another, and despite this grim, psychotic predicament they’re in, they also bring a lot of heart to the film. 

            Actors like Vivica A. Fox and Sterling K. Brown are more like supporting roles and aren’t in the film much, but they make do with the screen time given to them, with Fox giving probably the most chilling performance I’ve ever seen from her and Brown having a ball chewing the scenery and hamming it up. Definitely the kind of character you can’t wait to see get his blood-soaked comeuppance by the end. 

            The film definitely has a sort of Quentin Tarantino/Grindhouse movie vibe in terms of tone and filmmaking, but I wouldn’t call it a complete gore-fest from start to finish. It has moments like that, and the moments it has are effective, but it’s not trying to be the Kill Bill of movies about siblings killing their evil dad; it has blood and gory scenes, but it’s shockingly reserved for a film like this with more focus on the characters and their mission. 

            The makeup effects on Vivica A. Fox and Mallori Johnson are incredible, especially on Fox, who is almost unrecognizable under all this paint and prosthetics to make her look like a burn victim. Both she and Johnson have the exact same thing going on with their makeup as burn victims and look spectacular, but Fox’s makeup really stood out to me. 

            Not sure what else to say, Is God Is combines various genres like dark comedy and tense drama with outstanding performances by its cast and a script that mixes heart and bloodshed. It’s a wild but also endearing trip that I highly encourage buckling up for because it is quite a ride.