Is God Is (2026) | Brutal Confrontation of Generational Trauma - Black on Black Cinema | Black Movie Reviews

Episode Transcript
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Speaker 1 (00:04):
I have no idea about the villa right now. The
last change. Let's wrap it change, so on it, you know.

Speaker 2 (00:20):
Hello and welcome to a brand new episode of Black
and Black Cinema. I'm your host, Jay, I'm here with
my co host Michaeh.

Speaker 1 (00:26):
Hey, all right, guys, we are back.

Speaker 2 (00:28):
This episode is on the two thousand and twenty sixth
film Is God Is? Uh? This is written and directed
by Alicia Harris, who is the original playwright that this
movie is based off of. Stars Carl Young, Mallory Johnson,
Vivica A. Fox, and of course STORL. K.

Speaker 1 (00:48):
Brown.

Speaker 2 (00:49):
The logline here for the movie is two sisters embark
on an epic quest for revenge, confronting a charge family
history that will push them to extraordinary lengths. This uh,
this is still in the theater, so look, go support
this if you can.

Speaker 1 (01:06):
Uh.

Speaker 2 (01:06):
Well, we don't get a lot of black grindhouse movies
for one. Two this is the first time black director,
which I think is pretty cool. And she's also a playwright,
so I think that's that's kind of dope. Or if
you can go see the play, do that even better. Michael,
what did you think of as God Is?

Speaker 1 (01:28):
I think I enjoyed the movie. I think it I
had had a good time watching it on like a
visceral level. I don't think it's you can tell this
is probably someone who is not as experienced with film

(01:48):
or Rodder. You can tell this is like a first movie.

Speaker 3 (01:50):
Yeah, the the the themes are very very heavy handed, right,
like this this is this is you know, generational trauma
and how it affects people and how it literally leaves.

Speaker 1 (02:06):
Scars on on on our protagonists, right, and like it's
it's it's not a it's not a difficult movie to
kind of figure out. I think the messaging of like,
you know, the fact that these I think these twins represent, uh,
the different sides that one person has when they're being

(02:29):
affected by generational trauma and living in the world that
we live in. You know, where one of them, you know,
you just want to fight the world, you want to
lash out at everything, and then the other side of
you is is very much like but no, I just
I don't want to do that. I want to be
left alone. I want to you know, this isn't right,

(02:51):
and we know it's not right. Right. I think they
do a pretty deep I think they do a pretty
decent job of illustrating this with the twins. I think
it's shot competently. I think, uh performances are really well done.

(03:12):
And I'll talk about individual performances when we get there,
but yeah, overall, I would I would say this is
a nice start to uh hopefully a a long and
fruitful career for Alicia Harris. Yeah.

Speaker 2 (03:29):
So, uh yeah, I liked it. I thought it was interesting.
I agree it's it's pretty heavy handed in parts. I
find that to generally be a thing with plays turned
into movies anyway. It's just I feel like plays don't
and I'm not I'm not saying this is a disparaging thing.

(03:50):
I feel like a lot of plays really kind of
put it straight out to you. There's not a lot
of like I don't want to say there's not a
lot of deeper messaging because that's ass litely not correct,
but like a lot of stuff is just right at
the forefront. And I think it's just the medium, like.

Speaker 1 (04:05):
The suet, the subtext is the text.

Speaker 2 (04:08):
Right like and and that's I don't see that as
necessarily a negative, but I think when you translate plays
to television or movies, it's a little different. Just in
just in how a lot of television and movies are
written where that subtext is supposed to be, you know,
like bad movies sometimes there's no subtext, but like you're

(04:29):
supposed to play with the subtext a little bit more,
where I think plays just kind of really put it
straight to your face. So when you then get a
play that's made into a movie, it feels slightly odd
because you're like, well, one, sometimes like people talk in
different ways that don't necessarily jive with how you're normally
used to seeing people in movies. But also just like
the text and subtext kind of aspects are a bit different.

(04:51):
And I think that's true here. Like you said, it's
it's like it's right in your face. It's as I mean,
this is in your face as a raw hitting you
in the head in a sock, you know what I mean.
Like it's like it's literally clubbing you over the head
with message, message, message, over and over again.

Speaker 1 (05:09):
Yeah. Look, you know, and I'm okay with I'm okay. Yeah.
This director is forty five years old. She grew up
in the same era that we did with message movies
in the nineties, like like oh Boys in the Hood
and all that stuff, all those message movies are in
and and I hope that uh, you know, people, I

(05:35):
hope that people take this message that like you gotta
you gotta let go of some of the ship that
is put on you, particularly from your previous generation. Like
at the end of the movie, it's like, you know,
spoiler alert, Like at the end of the movie, the
message is this shit stops with this ship stops right

(05:57):
here because I can't I can't continue this the next generation.
I can't do this to the next generation. This stops
right now.

Speaker 2 (06:06):
Right well, and the other aspect will get there when
we get there. But it's like if you allow this
trauma to kind of build, not not built, but like
if you allow this trauma to stay with you without
dealing with.

Speaker 1 (06:20):
It and not.

Speaker 2 (06:23):
Sort of dealing with it, not in just a like
violent sort of way or just trying to bash yourself
against it until you wear yourself out. If you if
you try to do that, it will consume you. It
will destroy you as well. Right, And like again, message
like the fact that there are twins is a vague.

(06:43):
It's a very obvious point here, right, Like you said,
it's like both sides of the perspective, and you will
be consumed by your by that anger if you if
you're not.

Speaker 1 (06:52):
Careful, and which I liked.

Speaker 2 (06:55):
By the way, again, I like the movie quite a bit,
but I I do hope that people pick up on
the messaging because you know, sometimes even though it's in
fucking plain text, some.

Speaker 1 (07:06):
People are just like, this goes right over their heads.
So the movie opens up with.

Speaker 2 (07:13):
So the two girls, Racine and Anaya I believe are
their names. Interestingly enough, they're referred to as Racing the
rough one and Ana the quiet one. So again message
they are twin girls, and uh, Racing is like they've

(07:37):
both been burned when they were young, like physically burned,
and we'll talk about that. But Racing was burned far
less than Anea was, and so Racing always defends uh
her sister when anybody does anything, like says anything really
negative to her, calls her ugly and that sort of thing. Right,

(08:00):
So she is she's the rough one, but she has
the ability to kind of like be a part of
society a little bit more, not as ostracized. So when
someone fucks with her sister, she she kind of her
anger is fueled by that, and we see in the opening,
the opening scene, the two girls sitting on a bench
like their school girls, and some kids walk by and like, oh,

(08:23):
she's ugly, and you can't see what either one of
the little girls looks like because their back is to
the camera, and the kids say this, and then they
walk off, and then you see who's obviously Racing, get up,
pick up a plastic bat off the ground, and then
you just hear her proceeding to just go beat the
shit out of these kids off camera, but talking shit
about her sister. I was like, all right, I'm in

(08:46):
Like immediately, I was like, all right, you got me.

Speaker 1 (08:48):
Great, great opening scene.

Speaker 2 (08:51):
And then she comes back and sits next to her
sister right and hugs her. So then it's sort of
the modern time, you know, present moment, and we see
Racing taking care of an AA. She's like rubbing ice
cubes all over her skin and everything else, and you
see that she's an AA is like burned. I think,
I mean it's probably like two thirds of her body,

(09:11):
Like her face is completely scarred. Everything where Racing's hand
or her arm is like pretty scarred, but like and
just like up her shoulder, but like that's it, right,
Like she's got like fingers that are fused together as well.
But for the most part, if you weren't really paying attention,
you wouldn't you wouldn't much notice. The two of them
are janitor, like late night janitors at some business and

(09:37):
they have this interaction where this this woman uh drops
something and Anea like or Racing gives it to picks
it up and gives it to this woman. She notices
the burns on her arm, and then she notices the
burns on an Aa as well, and she kind of

(09:57):
gives it like a fucked up look, and Racing then
proceeds to just like verbally like slam this woman, like
you know, like fuck you, you're pretty bitch, and all
this other stuff. It just like really goes after of
course they get fired after that. Again, Racine is has
no ability to like take bullshit like she she does

(10:18):
not suffer fool as well, which you know, I respect it,
but at the same time, like it's hard living life
where you're ready to fight all the time over everything.

Speaker 1 (10:28):
Yeah, Like like Racines like racinge is like her the
insecurities that that Racing if. I'm probably going to discuss
this movie as if these two are one and the same, right,
And I think that's the correct way of looking at it,

(10:49):
and and the insecurities that this person has is represented
in racing and it. I really think that, I really
think that these two do a very a good job
of being twins and illustrating the the bond that the
two have. I think they do a very good job

(11:13):
with it, you know, the whole like twin telepathy thing. Yeah,
I like that aspect where they could talk to each other. Yeah,
I think it's pretty I think it's pretty clever. It's
it's clever in a storytelling way, and it's clever in
that they pull it off acting wise, right, Like you
can see like what they're saying in their faces, right

(11:37):
Like it's almost like you don't even need the subtitles,
like you exactly exactly and tell. Yeah.

Speaker 2 (11:44):
I thought I thought that was kind of a cool effect.
And so yeah, you see them, you know, they're like
their lives are basically the lives of any other, like
twenty something year old black twins in the South, right,
Like there's nothing about them that is particular really like
wild and crazy.

Speaker 1 (12:02):
It's just that they look different because of their scars.

Speaker 2 (12:06):
So then you get you get this moment where they
get they get called to see their mother who they
thought was dead, and it's Vivak Fox and she's burned
all over her body. We'll talk about how that happens
h soon enough, which is super fucked up. And she

(12:29):
basically is like, look, your father who did this to us,
is still.

Speaker 1 (12:32):
Alive and.

Speaker 2 (12:36):
I'm dying like I'm not, I'm you know, I'm kind
of on my last run here. I'm gonna need you
to go ahead and and uh go and kill this guy.
And Bracin is like, yeah, no, that's about right, like
God it.

Speaker 1 (12:52):
And meanwhile and he is like, uh.

Speaker 2 (12:54):
I'm sorry, I don't want to kill people like I
get it, he did this horrible thing to it, but
I want to kill people.

Speaker 1 (13:01):
So I know you are a staunch non believer. They
they refer to their mother as God right because you know,
the the the ideas that the idea from the characters
is that she made us right, just like God created

(13:24):
humans whatever right and just and and and it also
can work as you know how young people view their parents, right.
Young people view their parents as very like like larger
than life, like godly right right, like your mom and

(13:48):
dad say something. You do it because like they command it, right,
and so I I so it's not lost on me, right,
Like I get it, But what did you think of?
Like I feel like there's also a religious aspect to
this that I feel like you can shoot on religion about.

Speaker 2 (14:13):
I mean any chances I get no, No, in all seriousness,
I mean there is there is really a lot of
you know, religious sort of you know, chronography or references
and things like that. I mean I was while I
was watching it, I'm just thinking to myself, like I

(14:35):
even googled it, like while I was watching it, like
famous Twins of the Bible, right, because I figured, like
there's got to be some polls there, and there, I
mean there there are a few obviously, but like I
almost thought about and maybe this is a bit of
a leap and I'm not religious, so like, spare me
your comments, wait for me to say something really offensive

(14:58):
five minutes U. I almost felt like it was a
little bit of a canaanable kind of situation between the
two of them.

Speaker 1 (15:05):
And yes, I know.

Speaker 2 (15:07):
King killed Abel, like I'm aware of that Sunday School story.
But what I mean by that, I mean it is right.
What I mean by that is not necessarily that one
is evil or not. But like the trauma that they
have is generational trauma they have in the moments in
which they're they're tasked to do this thing of like

(15:27):
go kill your father, there is an aspect of like
there is such a diametrically opposed way in which they
see the world at that moment, right, it's like, we
have to do this violence on this person. We have
to kill them. We like, it doesn't matter, we have
to do it. And the other character is like, I mean, okay,
but like I kind of don't want to do that,

(15:48):
like you know, and so I don't know. I mean,
I know that there's like a jealousy aspect between the
cana and able thing, but I don't know it. It
felt like those is split so much after the task
is created by their by God or by their mother
that it was just kind of hard to miss or
like hard to ignore. So I didn't mind the religious

(16:11):
sort of aspects of the movie. I like when people
use I mean, religion is a huge thing, so I
don't mind. I like when people use it to tell
a story that's not I would argue, just like sycophantic,
but like kind of an interesting perspective, So it didn't
bother me at all.

Speaker 1 (16:26):
I mean, treat it like you know, the mythology or
theology or whatever that that it is. You you can pull,
you can pull interesting stories from it. If anything, this
is this is kind of like a kind of like
a reverse Isaac and Ishmael, where you know.

Speaker 2 (16:42):
You're gonna have to you're gonna have to give me the.

Speaker 1 (16:45):
I don't remember much. I just know that there were
a couple of brothers who were kind of estranged and
they have to come together to bury their father. Whereas
these two are interesting. Whereas these two are you know,
they're they're essentially joined at they hip, and they they
kind of drift further and further apart as they go

(17:06):
to kill their father.

Speaker 2 (17:07):
That's actually probably much better of an analogy than what
I gave.

Speaker 1 (17:11):
Yeah, that's probably actually much closer. So it's it's just
it's you know, I think, uh, I think stuff like
that is especially if you can give like little twists
and stuff on it. And and uh, you know when
we when we go in when they go see their
their mother, right, when they go see God. I love

(17:34):
when enter right and and uh vivocal Fox is uh,
they're getting her hair braided. And the scene with she
they walk in, it's you know, you hear the music
in the background, the way she's lit like, she looks
like she looks like god, right, and it is it's

(18:01):
it's wild man. And and then we get we get
a little bit of backstory. Yeah, the backstory is rough.
Backstory is rough, but we cut to a nice I
think it was like Cepia uh tone where we get

(18:22):
vivocal Fox and she's looking normal, right, and you know,
the two girls are watching TV. All of a sudden,
the father comes in and you don't see it's obviously
stolen k Brown. More on him in a minute. Who
comes in and he is kind of you can feel

(18:44):
his He's a presence, right, he has a presence. He
is a force. He is I mean this this this woman,
the director, she fucking nails what it's like to be
afraid your father. She nails it. Dude as someone who
is afraid of his father, YO. Like him coming in

(19:10):
the the the it just it took me back, Like
the only thing that Sterling K. Brown doesn't have is
a big booming voice. If you had a big booming
voice that would be like, oh shit, like he like.

Speaker 2 (19:24):
You start going in it's like, look at the Vietnam
flashacks O, shit, he's gonna throw my Nintendo sixty four.
Like the wild part about that scene and Sterling K.
Brown's portrayal, by the way, somebody said, I'll try to
find a person's name. They commented in preparation for this
episode that they think Sterling K. Brown is by far

(19:47):
one of the best black actors of this generation, because
we had talked about.

Speaker 1 (19:51):
Holland and you know what, you're not wrong. You're not wrong.
He's like he's he's very he's very versatile, and he's
fun to watch. He's fun to watch, and that's very difficult,
especially when when.

Speaker 2 (20:04):
In this movie like and you, I'm just like, oh,
I can't wait to his scene because he's so fucking good, Like.

Speaker 1 (20:10):
This is this, like this is the guy that was
in This is Us that makes every week.

Speaker 2 (20:17):
Are you watching your like God, my heart, Like you're
making me feel shit in this when you're like, oh,
are they trying to kill him? That's cool because he
deserves it. And and it's like you take that, you
take that movie we did with him as the Preacher
like you know what I mean, like the dude.

Speaker 1 (20:36):
That you take that shitty fucking punt in a movie
where he's just being a part of it. He is.
He is, he's just being a dick. You take him
in this show called Paradise, which is he is the
absolute polar opposite of what he is in this movie.
He is a man who goes into armageddon to find

(20:56):
his wife. Like it because like it's is wild, like
Starlin K. Brown is freaking awesome.

Speaker 2 (21:04):
He is like your your statement. He is fun to watch.
That is exactly correct for him, like anything that Starling K.
Brown is And I'm like, oh shit's on, like like
you just know because he's one of those actors he's
like it's like him like Andre Holland, Like there's a
number of those actors who you know, they can't give

(21:26):
you less than one hundred percent, Like they're just incapable
of it whatever they're doing, like it doesn't matter. Like
one they pick their scripts very well, Like that's a
big deal, right, they don't just I'll just take anything, right,
but I mean minus Predator okay, But but he's like
he's incapable of just giving you a half assed performance.

(21:47):
He just is and in this I think one of
the things I liked about this scene in particular, right,
and I really, I really, actually really enjoyed the final
scene with him, because he's not ectually in the movie
a lot, but like he looms large throughout the entire story.
They don't show his full face, and I think that

(22:08):
is from the perspective of, like, even though it seems
without the kids in it, and there scenes with the kids,
because kids, like, your perspective is always low and you're
kind of looking up. So they give this kind of
almost like a medium shot a lot where you're just like,
it's just cutting off his face. It's just like and
so he's always kind of staying just out of the

(22:29):
frame or whatever, and he just gives this air of like,
are they gonna move the camera so you can see him?

Speaker 1 (22:34):
Are they gonna move the No?

Speaker 2 (22:35):
Not yet, okay, Like, and you're so you're anxious to
see this guy, Like, even though you know who the
actor is, you're just anxious to see this guy who
did this horrible thing?

Speaker 1 (22:44):
Why did he do it?

Speaker 2 (22:45):
And you're like, okay, he was just being an awful person,
Like there wasn't even a lot to why he does it,
he's just a lunatic. And then to your point about
him not having the booming voice like your dad has,
his voice actually works even better because it's kind of
a regular it's like a fuddy duddy voice. It's like

(23:08):
a weird funny duddy voice.

Speaker 1 (23:09):
Too, making lighter like he's like it's like he's doing
the dusty uh dusty roads.

Speaker 2 (23:15):
Yeah right, and it's it's it's like it has like
a little bit of like the southern dandy.

Speaker 1 (23:20):
Lilt to it.

Speaker 2 (23:21):
Yeah, and you get a lot more than in the end,
and like it's like that's just let's just relax, you know,
and you're like you're a horrible person, Like what are
you talking about, Like, let's just let's just talk it out.
I'm like, you lit my mother and us on fire,
like you're a lunatic.

Speaker 1 (23:39):
And he's just like lightly speaking. He never really gets.

Speaker 2 (23:43):
Overly emotional, not until like really quite close close to
the end. And it's just like that lilt and that
lightness against.

Speaker 1 (23:52):
How dark of a person he is.

Speaker 2 (23:54):
I mean, like, personality wise, is just unbelievably well done acting.

Speaker 1 (24:00):
And I don't know if that's from the play.

Speaker 2 (24:01):
I have no idea or if that's a personal choice,
whoever's choice it is, it's excellent. It's an excellent choice.

Speaker 1 (24:07):
That's one of the things. One of the things that
that that film can have an advantage of over a
play is going back to the shot of that Like
you were talking about that, there's always like a shot
of him, you know, with his face covered, but you
could see half of it. Right. Not only is that like, oh, well,

(24:30):
little kid, you know you're looking from perspective. No, it's
a way to trick the audience to make sure that
you're not looking at a man in the eyes because
because and generally, when you can't look someone in the eye,
that usually means you are intimidated by that person, right,
and and and the film makes subconsciously makes you intimidated

(24:55):
by Look. Maybe maybe it's just me, but it makes
you intimidated, intimidated buy sterling K. Brown's character. Because the
camera refuses to kind of look up at this man.
The camera is afraid of him. Thus you're afraid of him,
right exactly exactly, So yeah, man, and look, this isn't
the only movie that's done it. But you know this

(25:17):
this doesn't great they does. It's a great effect and
so yeah, during this flashback, you you basically see Sterling K.
Brown put Vivoca Fox's character in a tub. He brings
his daughter, He drendses are an alcohol. He brings his
daughters in to look at at him, light a match

(25:41):
and throw the match in the tub, and then all
you he all you see is Sterling K. Brown walk
while you hear the fire and you hear the screams,
and you don't know why. You don't know. You don't
know anything this cut scene as a matter of a
cut scene. You don't know anything turned his flash back
as a matter of fact, you don't even know. You
assume that this is the truth, right, given all the

(26:05):
other given all the but you don't know, you don't right,
Vivicat Fox's character could be an unreliable narrator. You don't know,
but at the moment, and I only think about that
now just because like I see three burned women there.
She said a man did it. I'm likely, yeah, I'm
believe me, Like what the fuck? Like what's going on?

(26:27):
And and like.

Speaker 2 (26:30):
Yeah, this scene is great, like it is because it
is a perfect it's a perfect moment to come right
before the ask, right, which is I need you to go.
I need the two of you to go to kill
your father. Right because if you had, just if you
had just met these two characters, they're living their lives.
They're they're burned, whatever they need their mother, who's also burned,

(26:50):
You're like, oh my god, it's so fucked up.

Speaker 1 (26:52):
Because it's changed. Right, they don't know, they don't know
this woman, right, like they they.

Speaker 2 (26:59):
But right, they thought she was dead, which is as
you as as we're talking about this, that also gives
me a little bit of like, can I can't believe
I'm saying this? Like can the subjects of God truly
even know God?

Speaker 1 (27:19):
Right?

Speaker 2 (27:19):
You know, Like it kind of gives that aspect too, right,
like we thought you were dead, like which in a
child's mind, where even in an adult's mind, you are
as far away from me as humanly possible, right if
you're dead.

Speaker 1 (27:34):
But here I am.

Speaker 2 (27:36):
I come to you. I make the call to you,
as God, I make the call to you to bring
you to me.

Speaker 1 (27:41):
Right, But I.

Speaker 2 (27:43):
Don't But I don't really have a relationship with you,
like or excuse me, you don't really have a relationship
with me. You you now know I am alive, and
you you're worshiping me by meaning like oh my God,
you know, ironically like oh it's God, and all this
sudden stuff, and she is just going, I need you
to do this task for me. So you are just

(28:04):
set out into this world nothing else that like, you
don't have You're you don't have this deep connection when
them You're just trying, you're trying to know God, but
you don't. Actually you don't. You don't have a direct
one to one, which would be a big difference if
she was there, you know, at home mom this whole time.

Speaker 1 (28:21):
Right, That's it's different.

Speaker 2 (28:23):
That distance creates the quite literally the God to subject
kind of.

Speaker 1 (28:28):
God has forsaken them by God has forsaken them right
right right and now, and and it just it's it's, it's,
it's this is this is a pretty good movie, man,
it is a pretty good move. And look, and here's
the thing.

Speaker 2 (28:43):
I actually think I'm enjoying the movie now talking about
it even more.

Speaker 1 (28:47):
And I really enjoyed the movie.

Speaker 2 (28:48):
But also there is another aspect to this, which is, yes,
there is God, yes they are God is tasking them
to do the thing.

Speaker 1 (28:55):
But Sirling K.

Speaker 2 (28:56):
Brown's character is the devil, right and that that is
an important bit too. But at the same time, uh,
I can't believe I'm saying this, and this is fucking
Maybe this is me going a little too far, but
I actually think it's kind of brilliant. The devil was
created by God, right, The devil was obviously an angel,
so in a way, like they're both created by these

(29:21):
two characters, right, Like God creates them.

Speaker 1 (29:24):
Originally right through birth and everything.

Speaker 2 (29:26):
Else, but who they are in their trauma and quite
physically what they look like is created by the devil. Right,
So it's like they have the scars of both of
these or not even necessary scars from God, but they
have these deep connections to both of these characters by
being forsaken to your point, or by these actual horrible ACKs. Right,

(29:51):
It's interesting, and this is a fast forward, but I
do want to make this point. They're only burned because
he didn't set them on fire. They're only burned because
they got caught in the fire trying to put the
fire out on their mother.

Speaker 1 (30:04):
So so.

Speaker 2 (30:08):
Ironically, they are only hurt because of the fight between
God and the Devil, right, as subject, Right, that's that's
why they're right in defense of right, that's in defensive
of God.

Speaker 1 (30:20):
Ah, this is pretty smart. This is pretty a good movie.

Speaker 2 (30:23):
Man.

Speaker 1 (30:23):
Again, places in it, but it's not hard. It's not
hard to figure out, but you appreciate it, you know
what I mean? Like this is this is a good
movie man.

Speaker 2 (30:34):
Yeah, and look what did I I texted you after
I watched the movie, and I said, good Black movies
are my favorite type of good movies. They are like,
like that is a genre in and of itself.

Speaker 1 (30:45):
I love. I was like watching it and I was
like I was getting a little like I was. I was.

Speaker 2 (30:49):
I was proud of the movie when it finished. I
was like, yes, like good. I love seeing black people
doing their ship, telling their stories and telling them well,
I love that ship.

Speaker 1 (30:58):
It's my favorite thing. I love it. Yeah. And look
that's not to say you can't enjoy Nemesis or whatever. Right.
I enjoyed that show, but like sure, dumb soap opera, right,
Like I enjoyed it, but like watch this too. Yeah,
please please support support other things too, And then you know,

(31:20):
dig a little deep, just just dig a little deeper
and scratch the surface, like like the exchange that we
just had. Like that's what makes movies fun, you know, what.

Speaker 2 (31:29):
I mean, yes, and and it is right exactly. But
it's also important to dig a little bit deeper into
things like this and not to just watch movies on
a surface level, because you you you end up missing
so much, right, like, like this movie has a rich experience,
Like just dig into it a little bit, like it's
it's actually fascinating. And look, I'm sure there's gonna be

(31:51):
people in the comments with other takes on it that
dig into it in a different way. That's what I
like to see instead of just like stupid fucking comments,
like comments that are like oh, I actually thought it
was this and maybe they represent this stuff perfect. That's
what we want to hear from you. Those are way
more interesting comments.

Speaker 1 (32:08):
Than like.

Speaker 2 (32:10):
Why are you mad that you did you didn't absolutely
love the Michael Jackson movie or whatever, like Okay, I
thought it was entertaining, but I didn't.

Speaker 1 (32:18):
Think it was the best thing.

Speaker 2 (32:20):
So they are they are tasked by their mother to
go kill their father, right, that's a that's a it's
a wild thing to do.

Speaker 1 (32:30):
Uh, And so they they.

Speaker 2 (32:32):
Go on there like classic road trip grindhouse sort of adventure,
which you know, I love, and they first place they
go is. They go to this church run by Maxine
from a living single and she still looks great, by
the way, just just aside, she still looks great. Also

(32:54):
as an aside, it's really saddens me to see the
Fox doing all that plastic surgery.

Speaker 1 (32:59):
It really does it? Really? Yeah, yes, Is said, so yo,
you were.

Speaker 2 (33:05):
You were eleven out of ten back in the day.

Speaker 1 (33:08):
Are you serious? Had to change?

Speaker 2 (33:10):
Nothing, girl, nothing, But I'm glad to see I am
actually glad to see Vivica Fox doing stuff like this.

Speaker 1 (33:17):
Yeah, glad.

Speaker 2 (33:19):
Yeah, Like I like vic I like Fox a lot.
Like I think she's she's a I mean she's not.
I wouldn't argue, oh she's the best actress in the
world or whatever, but I enjoyed watching her and stuff.

Speaker 1 (33:29):
I think she's I think she's fun. So it was
cool to see her do something with us. Yeah.

Speaker 2 (33:34):
So so yeah, they they end up going to this
church and this woman has decided that like she wasn't
just in love with their father like she she was.
She was so like over the moon that she had

(33:55):
like a like a shrine to this dude. And she
kept all of the stuff that he left, like his
address book and his wallet, and like his jacket, like
she had that stuff like in a showcase.

Speaker 1 (34:08):
It was very weird.

Speaker 2 (34:09):
But again, if you're talking about this idea of deities
and that sort of thing, it makes sense that everyone
who interacts with these people are like, oh, my God,
like oh the devil or the you know, or God
or what have you. You know, I don't want to wash
my hand because they touched his hand type of thing, right, Like,

(34:31):
it makes sense.

Speaker 1 (34:32):
And and in some ways.

Speaker 2 (34:34):
I guess he appears kind of like God to these
other people too.

Speaker 1 (34:38):
Right, Like there's a bout, yes, but it is not
lost on me that the that the preacher who is
who maybe earnest in her belief And look, this is
not me shitting on religion, right this this preacher might
be one earnest in her belief, but she is believing

(35:02):
in the wrong thing. She is worshiping this movie's version
of the devil. And and and you need to and
people need and and and I feel like that's it's
not necessarily where people come from, like when they when
they when they preach the gospel, right, certainly not right

(35:23):
like anyone not a prosperity preacher. I will give the
benefit of the doubt rights, like going to a prosperity churches.
Preachers they're all scam artists, man, all of them, all
of them. It's a business for them. Go to it,
go to a smaller support, a smaller church support.

Speaker 2 (35:41):
I mean, it's literally the opposite of what Jesus preached.
Like I don't even understand the argument, like give away
all your money to the poor.

Speaker 1 (35:49):
They're like my Bentley, like not, this is crazy, jet
my jet jet said this? Did he did?

Speaker 2 (36:01):
He?

Speaker 1 (36:01):
Yeah? I mean I gotta. I gotta preach all over
the world and in first class.

Speaker 2 (36:06):
Privately like niggas zoom exists. Get honey, here, what are
you telling you about? And I don't understand that I
could go over an hour, how stupid that is. But yes,
I agree, I didn't.

Speaker 1 (36:18):
I didn't. I didn't get Erica Alexander's character. I didn't.
I don't make that criticism of that character as like
I think she is duplicitous in her beliefs or or whatever.
I think she is. Ver Yeah, I think, and I
think she is another victim. I feel I feel bad
for her and that she is another victim of this

(36:43):
man who is just kind of doing what it what
men have done throughout humanity, right, just kind of pillaging
their way through people. Right, he's he they they made
a song about it. Right, he was a role stone. Right.
These these twins have multiple siblings, right. We meet one

(37:06):
of them and it with Eric Alexander. She's like, oh, ship,
this is Exekiel, this is your this is these are your.

Speaker 2 (37:13):
A another biblical name, right.

Speaker 1 (37:18):
So you know it's and and so the girls confront uh,
they confront Erica Alexander's character. I can't remember the name,
and uh divine and she is divine? Is it not? Yes?
M right? Like so so they they confront Divine and

(37:43):
they're like, hey, where is he? And they fight, you know,
they figure out that like, oh, well he's he was
the perfect man and I'm waiting for him to come back,
and you get out of here, right, So they get out.
But Racine lifted Divine's wallet, and they get another lead
to where their father is.

Speaker 2 (38:02):
No, not not the wallet, his address part.

Speaker 1 (38:05):
Address book, yeah, address book. And they get another they
get another lead to where where the where the father is? Yeah.

Speaker 2 (38:13):
And look again this idea of like taking like taking
that taking this part of their dad, right, this this
address book, taking this part of their dad and then
them continuing the adventure and everything else. This is just
it's like classic grindhouse kind of stuff, right, like all right,

(38:33):
we got a mcguffin, Like, you know, we got this
part of the adventure, all right, we got a mcguffin
that's gonna get us to the next thing, violence, violenceolence,
right and and so far we haven't gotten to the violence.
But it's interesting, like once it starts, it really gets moving,
like quite quite quickly, I thought, so like we we

(38:54):
Then he gets like in the address book he find
they find their dad's Ah, who I forget the guys.

Speaker 1 (39:06):
His name is Mickelty Williams Williamson Chu Chu Lawyer. He's
the raggedy bitch guy. He's uh yeah, he's He's Bubba
and he's also a really he's also a really good
character actor that that does an excellent job in this

(39:28):
movie with a non speaking role. Mm hmm.

Speaker 2 (39:31):
He's got like a I think he has a podcast
or something. I've seen a couple of clips he talks
about acting and his experiences. He's a he's a pretty
fascinating guy. Like he's done a lot, He's done a
lot of a lot of character acting actually over the years,
and he's just one of those guys where people are like, yeah,
that guy, like I know that guy, you know the
type of thing, and yeah, he does a good job here.

Speaker 1 (39:50):
Actually actually liked him a lot.

Speaker 2 (39:52):
And it's again, it is not easy to act when
you cannot speak. That takes a level of talent to
really and to also not make it look ridiculous. And
he's able to do this as Chuck Chuck Hall, the
lawyer who had his tongue, he basically bit off his
own tongue because of their father and like what what

(40:15):
he did to them or what he did to him,
and you kind of you come to.

Speaker 1 (40:19):
Find the lawyer got him off. The lawyer got Stolen
Kate Brown's character off, right, like he got him off.
And I think he kind of regretted it a little bit, yes,
And and you know, Stolen Kate Brown didn't like that.
So but because because he can't talk, he's communicating through

(40:44):
a whiteboard, which was very amusing, just because you know,
you're asking people to asking people to read, and it's
one thing to ask people to read subtitles, is another
thing to ask them to read someone's handwriting on a whiteboard,
especially because like some of the like at one point

(41:06):
he writes like eight lines of like that's funny, but yeah,
he's basically like, look, don't His whole idea is like,
don't go after your dad. This guy is a dangerous person.

Speaker 2 (41:22):
By the way, the dad's name in the movie is
the Monster, Like that's it, Like he doesn't have any
name whatsoever.

Speaker 1 (41:31):
I mean, it might as well.

Speaker 2 (41:32):
Have been the Devil, to be honest, But he basically
is like, listen, don't go after your dad. Your dad
is a dangerous person. And then he proceeds to tell
them the story of what his dad did, like like
you said, they they had just finished the court case
and he's.

Speaker 1 (41:48):
Like, oh yeah, like glad, you know, glad I got
you off and.

Speaker 2 (41:52):
You know, like yeah, you know you're an innocent man
and all this other stuff, and he was like yeah.
The Monster's like, yeah, that's funny if I didn't do it,
like like yeah, I actually did do it. And then
the guy's like what And then he takes his head
and he smashes it against the steering wheel and I
guess he was talking or whatever, and it ended up

(42:14):
biting off his tongue and again, this scene is shot
where you only see like this of not even his
eyes like right here, like just his mouth of Sterling K.
Brown thus that idea to your point of like you're
just you're like, uh, I don't want to look at
this guy in the face, right, like you really don't,

(42:36):
and he just makes everyone else uncomfortable.

Speaker 1 (42:40):
And it's perfect. It works really well, and it's fucked
up because Sterling K.

Speaker 2 (42:45):
Brown goes from laughing and given this like great beautiful
smile to then just like this quick change of this
frown as he realizes like nah, I don't like this guy,
and then he just grabs his head and smashes it
against the during is I mean, his acting is just
really quite.

Speaker 1 (43:05):
Brilliant in this movie, just very underrated. So he's he's
employing them to, uh, you know, give this up because
like your dad's an asshole, like he's a monster, and
like you got all this rage and like nothing's gonna
come of it, Like it's gonna it's gonna consume you,

(43:25):
right like you you are on a fool's errand and
it's it's basically like the warning and but Racine is determined,
right she threatens to beat them over the head with
a rock and a sock and and he's like, all right, fine,
and he gives them some information. But then he also says,

(43:47):
but I gotta warn you. He's he's with their new
he's with his new family, and he's got two more children.
And you find out that they got you two more
twin boys. Yeah, yeah, just fucking all over the place. Yeah.

Speaker 2 (44:05):
And you know, just that idea of the even even
the idea of the twins, like the idea of having twins,
that clearly comes from him, right Like, and you know there,
you know, there's a lot of sort of I guess
kind of you know, superstitious ideas about twins, right like

(44:29):
you know, whether that's you know, to like geminis and
like both sides of a coin type of thing. Like,
there's a lot there's a lot of sort of thoughts
on whether twins are a good thing or a bad thing.
And so this idea that he has created two sets
of twins, right Like, I think that also plays in
to sort of the general religious weirdness of it all.

(44:52):
And I don't mean weirdness, like just that sort of
thought process throughout the movie. So then the movie, you
see the two you see the two girls they are,
you know, they're they're driving and they end up on
this like kind of this like farm area, and then
there's a guy on a motorcycle. He just shows up
and he's just like chasing them, and they're just like,

(45:14):
oh shit, like what the fuck and he's trying to
trying to attack them and everything else, and come to
find out it's actually Ezekiel, the son from from the
Divine Divine Son, so their half brother what have you.
And yeah, they they basically like subdue him and then

(45:35):
they lock him in this like barn and he's like like,
I'm not gonna just let you go kill my dad.
It was just like basically his argument. They were like, now, but.

Speaker 1 (45:43):
We're gonna we're gonna do that, so get the fuck
out of here.

Speaker 2 (45:46):
And they just logged this dude in there and just
leave them. Then we see, you know, fast forward in
a little bit. We see Janelle Monet's character and she
is the new wife of the monster. Uh.

Speaker 1 (46:01):
Her title is literally new wife, that's how much she matters.

Speaker 2 (46:06):
And so you see her sort of having these like
flashbacks and thoughts of how she's been beaten on and
abused by the monster as well, So he's just repeating
the same pattern. He didn't go to another woman. It
was like this nice guy, he's still a veriable piece
of shit even even with her. So it's not if

(46:28):
you're thinking weirdly like oh, maybe the women are terrible, No, no,
it it right, like like the the idea I like
to me, that idea of the like unreliable narrator with
with Vivica Fox's character that dies when you see that, like, oh,
he's abusing her too, Like all right, so like he's

(46:49):
just he's just a piece of shit to.

Speaker 1 (46:51):
The point where she's to the point where she uh
wants to abandon the children that he had with now, right,
that's how bad it. Right, Although they're boys, you know,
like women women have a tendency to kind of really
love their boys. And yeah, and then she's just like

(47:15):
you might up like your father to get the funk out.
She lives a very she lives a very cushy life,
man Like she's not cushy life, but like they don't
want for anything, which just goes to that like yeah,
which just goes to show you that like money doesn't
give you happiness, you know, like that isn't isn't worth it?

(47:42):
So Jenemon's characters starts to she you know, we see her,
we see her. You know, she's so embittered, like she's
cleaning the house, but she's cleaning the house with a spring.
She's wiping the windows with a spray bottle filled of piss,
right because like, because she can not stand this, dude.
And and she finally musters up the courage to actually

(48:06):
get in a car and start to leave, and she's
just like yeah, she's singing, and she's like like super
happy and ship. And then she sees the twins in
the road and and they have a confrontation. Man, and uh,
you know it is it's sad, right because you see this,

(48:36):
you see you see this. I really wish we had
a woman on the show to talk about this. But
because maybe I'm maybe I'm maybe I'm a simple right,
but but but go on, you see these you see
these three women and they get into this this like

(48:56):
I was like, oh my god, please talk to each other.
Please talk to each other. No, no, like, yo, you
guys are on the same side, Please just talk to
each other. Right, But they're so focused on the individual
goals that that they they they they can't and and

(49:20):
and all of this is happening because this one dude
is being a dick individually, being a dick to each
of them. And it just is a did conquered situation
exactly what it is. And that's what these that's what
these relationship uh uh podcasts, bros and all that ship. Man,

(49:45):
that's all the ship is. Yo.

Speaker 2 (49:47):
It's just and in brodettes too. There's plenty of them too.

Speaker 1 (49:51):
Yeah, yeah them too, man, Like Yo, it is. It's
all a ploy to divide us and to keep you
paying them to tell you what you what they want
you to hear like. It's it's a weird, like I am.

(50:12):
I am so glad I grew up when I did,
I got married when I did.

Speaker 2 (50:18):
Oh oh every day every day I see clips of
pop the Balloon or whatever other dating clips and ship
that pop up on my Instagram, I just chuckle, scratch
my head and then chuckle some more, like, wow, okay, that's.

Speaker 1 (50:35):
What's happening out there.

Speaker 2 (50:37):
Good look, Jesus Christ. I saw a clip of a
woman was like, you're not tall enough, and the dude
immediately was like, I'm six feet tall and this woman
was like I'll tell you.

Speaker 1 (50:48):
She's like I'm five to one, he's not tall enough,
like all right, yo, all right, all right, yo, this
conversation is insane, like it's insane, six all right, all right,
what from this dude? Dude? He was just like okay,
like what the fuck?

Speaker 2 (51:02):
Yeah, And then you know, guys are just as dumb
on the other end, is this like all right, all right,
if you got too much cleavage out and a shirt, okay,
it's a shirt.

Speaker 1 (51:11):
Like it's a shirt, you know, like, okay, that's sandwich.
Make your own fucking sandwich. I don't I don't understand.
I don't understand any of it.

Speaker 2 (51:20):
Like this is insane, Like y'all gonna be single forever
listening to these stupid ass people on the internet.

Speaker 1 (51:26):
But yeah, it's it's just crazy to me.

Speaker 2 (51:29):
But it is that this guy has created turmoil, similar
turmoil in all three of your lives, but you can't
you can't see it, right because all all you can
focus in on like ironically, he has you focus so
much on him that you can't come together right, Like

(51:52):
it's it's extremely manipulative, and it's almost like that's happening
politically too, Like someone who is just sucking all of
your attention that you can't pay attention to all of
the people standing next to you that are suffering in
the same ways. So you're like, I'm really mad at
this person, and all the other people are like, I'm
really mad at them too, So we should get together.

(52:13):
I hain't go's half of all that. I'm still mad
at this person. It's like, I know, but like, collectively,
do we come together? You know, we're more powerful together.

Speaker 1 (52:22):
Like I don't know.

Speaker 2 (52:25):
That movie Ants was about that anyway, and that was
a kid's movie. They could learn the lesson and somehow
adults can't.

Speaker 1 (52:32):
So it's just but it is.

Speaker 2 (52:34):
It is this idea of this guy is able to
just be just enough of a manipulating factor, and he's
not a small factor by any means, but just enough
of a factor to kind of destabilize these women from
kind of coming together. Because what they should have done
is all three of them should have gotten that car
and wait for that nigga to get home and hit

(52:56):
him with it. This is what they should have done.
Because the new wife, by the way, Racine kills her
because she's like, I want here. You got to say
and she just fucking lounds her with a rock in
a sock.

Speaker 1 (53:09):
I mean part of it. Part of it is, you know,
during the fight, right like it and the fight was
it was so frustrating because it was like, excuse me,
I gotta go, and it was like you are married
to that nigga, and and it's like what well he look,
I'm trying to get the hell out of here. No,
you can't leave it out the this that, and it
was racing instigating this, and then uh, Jenemoa's character is

(53:36):
instigating back and to the point where Jenemale's character spits
on Racine. Yo, you might have to get a rock
the sock them, you know, like you spit on me,
you like, that's it once.

Speaker 2 (53:54):
Yeah, And I don't like to use this term, but
it's just accurate of a term as I can think of.
I tried, you know what, like what people would refer
to with a rape choke where someone just grabs you
around the neck, and that's what I did to him.
I like I lost my mind, you know, like because
it is the highest level of disrespect. I was like,
what the fuck, just like so I start start choking

(54:16):
them like I did, Like I lost my mind. Like,
don't ever spin on people, yo, Like that's insane to me. YO,
Like you're trying to get murdered. Like you're trying to
get murdered. No, like you could say a lot of
shit to me that I could, like, I keep my cool.
Whatever you spin on me, there's no telling what happens
to you after that, YO, doesn't sound.

Speaker 1 (54:38):
Yeah tell No, that's when ironside comes on. Everything turns.
You just blank the fuck out, like, get the fuck
out of it. No.

Speaker 2 (54:47):
No, I was like I was.

Speaker 1 (54:49):
I was probably about like fifteen, and I was like, oh, okay,
like this is I guess this is what we do it.

Speaker 2 (54:56):
I'm gonna try to murder you like sorry, like sorry,
not sorry, Like I lost I lost my fucking mind
for the few minutes. I just lost my mind until
somebody pulled me off of them. I was like, you're
gonna have to like sorry, Yeah, I don't. I don't
take kindly to disrespect like I just don't.

Speaker 1 (55:14):
I just don't.

Speaker 2 (55:15):
And I'm a I'm a nice, mild mannered person. Now
before oh my.

Speaker 1 (55:20):
God, I mean you look you were worse before.

Speaker 2 (55:24):
Look look, look there's degrees to the ship. I didn't
say I was cured. I didn't say that. I said
I I'm better, Like, you know, one's better than zero. Okay, Like,
don't mean is that high, Like get the fuck out here.
But yeah, so yeah, she spits on her, and like,
to my personal experience, Racine is completely justified in her.

(55:49):
And so yeah, she hits her in the head with
the fucking rock and a sock ow. And by the way,
as a weapon, it's pretty brutal, pretty brutal, gave a
a little bit, give a little bit of a David
Goliath kind of a situation.

Speaker 1 (56:04):
To me, it's also a biblical It's also a biblical weapon, right,
like it's it's it's essentially an old school sling shot. Yeah,
and so yeah, like it's you know, the the the
biblical overdones. Again not so, but you know, they don't
necessarily need to be. I mean, the title of the

(56:26):
movie has gotten it. So they they take some of
Genemonic's clothes and uh, you know, because they gotta wipe
the blood off off of their own clothes, and they
go back to her house and the twins today and

(56:49):
so those two twins are kind of analogs for the
twins that are are heroin twins right in that one
is kind of straight laced and the other is kind
of a goof off, right, whereas you know our hero twins,

(57:09):
one is you know, empathetic and one is full of rage. Yeah, basically,
and so the tall goof off twin is like, yo, scrippers,
Dad must have got us strippers, which.

Speaker 2 (57:32):
By the way, because I think it's like close to
their birthday or something like, the fact that that's where
he goes in his logic tells you a lot about
the relationship he has they.

Speaker 1 (57:41):
Have with their father that he would be like, yeah,
Dad would have gotten the scrippers.

Speaker 2 (57:44):
It's like what, But clearly that's the type of like
demented shit that these kids have, kind of like that
sort of primordial soup that these kids have kind of
grown up in, or at least in the in the
thought process of this one particular twin. The other brothers like,
I guess, okay, what like I like titties, so like

(58:08):
let's see what happened, right, And so yeah, they they
come in and and it's kind of wild because.

Speaker 1 (58:18):
He he's more worried about like.

Speaker 2 (58:23):
His horniness, and he doesn't even like really question the
situation that these two women have shown.

Speaker 1 (58:28):
He's like, oh, yeah, obviously strippers.

Speaker 2 (58:30):
Hey, you can just go into the bathroom over there
to change, and they're like okay, And clearly he's he's
not bothered at least initially by Anna's burns. Like he's
just kind of like whatever, strippers or strippers brother, Like
he does this all he cares about, which is I

(58:50):
don't know. I guess it says a lot about just
the mentality. So the girls go, they're like, all right,
I guess we'll pretend to be strippers. And so they
go into the mom's closet and they proceed to like
put on the mom's clothes, which is a little like

(59:13):
Oedipus kind of situation, right, Like it's a little bit
of like go step brother, I'm stuck in the dryer
type of ship, like whatever white.

Speaker 1 (59:23):
People are into. Very odd to me.

Speaker 2 (59:26):
I think the most guys are like, yeah, this is hot.
It's like that's your mom's lingerie, you know what I mean,
Like I don't. I don't know that they know that obviously,
but it's it speaks to like this the kind of
perversion of this moment.

Speaker 1 (59:37):
I think the most important part of that scene is
that we find out that the older empathetic twin is pregnant. Yeah,
Neil is that I think I don't remember she is. Uh,
she's pregnant. And because because racing is like why are

(59:58):
your tittyes so big? And she's like, I'm pregnant, which
you know, this is the wonderful side effect have. So
so she's like, so we find out that like that,
and that comes into play, you know, a little bit

(01:00:22):
later towards the themes of it. Right, So they come
out they started dancing, uh, and then the older brother
the younger brothers is like, all right, I don't want
to be in a room with a bunch of guys
getting hard dicks. I'm gonna go on my head out right. Well,
oh go ahead, and and so he goes out right.

(01:00:44):
The twins are dancing and the older brother is like, hey,
you two face turn around like I don't want to
look at you. Right. Yeah, it's like, Okay has a
super thing to do and and uh and Racine is
like huh clockett right. And the important thing is like

(01:01:07):
when they were changing ray, you know, uh Anya made
Racine swear to her that she would not kill anybody else. Right,
We're just gonna we're just gonna find this dude. We're
gonna figure out what's going on. You cannot kill anybody racing,
said twin. I swear I would never kill a man.
Right then he made that two face comment, was like,

(01:01:30):
and Racine Clockton was like, hm, okay, bet right. So
so Anya goes into the kitchen and she starts chatting
up the responsible male twin right right, and they got it.
Turns out they got a lot in common. They got

(01:01:51):
a lot in common, like they're there, yeah, they are siblings, right,
and they are very very similar to one another. I
think at this point, is it at this point where
where Racine just kind of like just kind of kills

(01:02:13):
that one twin, So the tall twin. Yeah, So what
ends up happening is.

Speaker 2 (01:02:23):
Like he tried, like she takes him in, she takes
him into the back of like, oh let me give
you like a little private dance type of ship. And
she's like, oh yeah, no, it's cool, Like ain't no
big deal. And then she she proceeded like he laid
down or like sat in a chair. She's gonna give
him a you know, like lap dance. She had a

(01:02:44):
lap dance all right with a with a rock and
a sock to his throat and just like fucked his
shut up, which.

Speaker 1 (01:02:52):
Like that's not good.

Speaker 2 (01:02:56):
And if I recall, I think that's how she kills him, right,
she's slices.

Speaker 1 (01:03:00):
Yes, yeah, I don't think she sliced. I think she
crushes his or you know, the jagged ash. I like,
I remember him. I remember him bleeding from his Yeah,
he's in a world of trouble. Look, even if he ain't,
he he's esophagsts got crushed. I'm sure getting your esophagus
crushed by a rock is gonna make you cough up

(01:03:21):
a little blood.

Speaker 2 (01:03:22):
Yeah, well he coughed the ball lot of blood because
he came out to his homeboys and he was like
they were like, god, he's like he's like holding his
throat and then he fucking falls down and fucking dies
and his friends, uh class classic close friends were like,
I'm out.

Speaker 1 (01:03:38):
They just left this time.

Speaker 2 (01:03:41):
I know I ain't going to jail. I'm fucking eighteen.

Speaker 1 (01:03:44):
That that's how that's that's why you can't put black
people in a horror movie. Man minutes, Yeah, fun out.

Speaker 2 (01:03:53):
Think around, let's stick around. I heard I heard Jason
coming like that what what is that? I'm gonna go.
I'll go towards the woods. Never But it's like that
woman at the at the White House is just gunshots
going off and she's just like, what's that?

Speaker 1 (01:04:12):
Like, goot gets some situations or where it is? Run?
What is that annoying noise? What is that? I wonder
what it is?

Speaker 2 (01:04:21):
I was like, yeah, I know where you grew up
and where you did grow up. I know a gunshot
when I hear it, Time to go the fuck out
of here. It's like, I wondered, I wonder what it is.
I'll let's walk towards it. Let's not I'll read about
it on the news from somebody else. So yeah, So

(01:04:42):
a brother and the brother ends up dying and they
the girls run outside and the moutamaner brother sees that
his brother has been killed. He goes outside and he
tries to kill any he does. He does the joke
I did on the guy who uh the side of
that spitting was a good idea.

Speaker 1 (01:05:02):
Turns out right before that, right before that, the sisters
like Ana is like, hey, you promised me you wouldn't
do it, and and Racine is like he called you ugly,
like like what you want to do? You like what
you want me to do? Like you're my sister, and
I care about you, and they and they and you know,

(01:05:24):
Anaya's kind of arc is that she doesn't stick up
for herself, right because of her her one she's the
empathetic twin two. She is the one who lacks even
more confidence because of her physical deformities. Right, so she uh, yeah,
they get into an argument and pushes Racine, and Racine

(01:05:47):
is ready to go. Racine is ready to fight her sister, right,
like that's what this rage has come to, right, and
and and by the way, smaller than than Yeah, it's important. Yeah,
and and Anaya literally turns her back on her, turns
the other cheek, right, and she grabs the other brother,

(01:06:11):
who is still alive, and it's like, come on, we
got to get out of here because she's gonna kill you. Right.
And they go outside, and the younger brother is looking,
you know, he heard all of this, right, and he's
looking at Anaya and he's just like, my name is

(01:06:31):
younger brother. You kill my my other brother? Prepared to die? Right,
and he gives her fucking he gives her the children,
right and and and Raycine comes to the comes to
the rescue. Uh, you know, botched this dude in the
head with a rock rocking us. Oh no, he doesn't.

(01:06:54):
She different way kills him. She kills him with like
some hedge clippers, like like like it just stabs him
in the back, like Jesus Christ. I was not expecting that.
I was like the one purely innocent character in this
fucking movie. Mom, this mom, this mom was Yeah, she

(01:07:18):
was she just spin on somebody.

Speaker 2 (01:07:21):
That's true. That's true. Well, sister, so by something, you
know what it is. So I wasn't expecting that.

Speaker 1 (01:07:33):
I was like, wow, okay. At some point, Ray Raycine
gets knocked out. I can't remember. I can't remember how
he he.

Speaker 2 (01:07:42):
Ended up knocking her. He ended up knocking her out.
I think when he was like falling somehow, like when
he was falling. Wait, oh, what happened? Is Anneya is
the one who stabbed him with the with the years right?

Speaker 1 (01:07:58):
Oh yeah, because because yeah, cause younger brother was choking
racing because.

Speaker 2 (01:08:06):
He slammed, right, and so then Anea, the quiet one,
stabs him with the with the garden shears or the
hedge clippers, killing him and then he falls into the
pool and dies, and so yeah, at this point you think,
oh shit, like she's dead right, like because she got
her head slammed against the things and so she gets

(01:08:28):
she Then we see the monster pull up to the
house again. All the shots are none of them are
of his face, and it's just like it's the least
intimidating images of him. Like he gets out of his car,
he's got like boat shoes on right, like, like he
doesn't have on like if this was like a classic

(01:08:51):
grindhouse film or something like that, he'd have on like
cowboy boots or like you know, something that's just supposed
to be like a man's man type of thing. He's
got like like boat shoes, Like like he's just nothing
about him comes off as particularly like intimidating physically. Right,
He's not a particularly huge guy. He puts on his
fucking slides with white socks in the house, like and

(01:09:14):
he's just seeing He's like he sees his dead son
in the in the in the pool, he sees his
other dead son in the living room.

Speaker 1 (01:09:22):
I think it's I think it's I think it's super effective.
I think it's even more like like I think a
lesser movie would have had him come in looking like
Shao Khan, right right, right, Yeah, I'm agree with and
and and uh I think he is. I think that

(01:09:42):
makes him even more intimidating because he looks like he's
your dad. He looks he's acting like a dad coming in.
First thing to do, take his shoes off, put his
slippers on, right, make himself a sandwich, right, Like, maybe
you should be making sandwiches, ladies. Otherwise I got to
make my own sandwich. Apparently I'm gonna I'm gonna I'm

(01:10:07):
gonna treat you like garbage if I got to make
my own sandwich. Apparently, no, make your old sandwich, make
yond sandwich. And yeah, so he he, like you said,
he sees his kids, his dead sons, and you know,
like no emotion whatsoever, right, because this dude is a sociopath.

(01:10:29):
And yeah, he makes himself a sandwich. He goes into
the living in the in the dining room meanwhile, and
Neya is dragging her sister around. He hid she hid
her sister underneath the dining room table, and she was
there also, And then he just comes out and he's, oh,
you know, what do you know about hard time baby. Uh.

(01:10:51):
He was like you coming now, we got a lot
to talk about and so this voice, it's great, and
they have they have this conversation, right, and that's when
you finally see him, right, and he just looks like
a regular dude. He just looks like Sterling K. Brown.

(01:11:12):
He just looks like, you know, no stars, nothing, Yeah,
he just looks he just looks like Sterling K. Brown, Right,
And you know a man that that is typically cast
as heroes or nice guys, good guys, right, and he's

(01:11:35):
got like a real somber, sad face. And they played
quid pro quo, right, like I'll answer a question, you
answer a question, right, And he's like, you know, who
would you kill first? And you know she's like, what
the fuck you do?

Speaker 2 (01:11:53):
What you did?

Speaker 1 (01:11:54):
And you know, it's a very interesting scene. I it
must have been. It must have been fun to be
on set during that scene, because like, this is what movies,
This is what movies and plays do the best, right,
Like two people engaging in conversation and it's riveting. This

(01:12:17):
is two people sitting at a table and one of
them's eating a fucking boloneyal rye, right, you know what
I mean?

Speaker 2 (01:12:23):
There's no fat on this scene. Right, Everything that is
set is important, every every look, every just like like
just even even the way in which they set up
the scene of like she comes from under the table,
she sits at the table, the camera changes to showing

(01:12:47):
just his mouth, like even though she's looking at him
and she's still intimidated, it doesn't cut right to his face.
They give you a little bit of a moment of
like you ready for this because you've been waiting an
hour and a half of this dude right here he
is and it is to your point.

Speaker 1 (01:13:02):
It's like that's just a dude.

Speaker 2 (01:13:04):
Like there's there's nothing, there's no like, there's no big
bad like and then it's pans up and it's Thanos
and he's got the gulllet Like none of that, dude.
This dude is wearing a button up shirt that you
could buy a kmart, right, Like there's nothing about him
that is physically scary or like he's got a big
scar over his face and tattoos are no dude, He's

(01:13:25):
just like a dude who works at.

Speaker 1 (01:13:27):
Like like he looks like dude, this monster, this monster
looks like any dude that you see walking on the street,
and that's any dude in your family. Yeah, exactly. And
that's the point, right, that's the point I mean.

Speaker 2 (01:13:42):
And you know, actually, interestingly enough, I heard this term
I had. I hadn't heard this term until like a
day or so ago, which is do you know IPv
Intimate partner violence.

Speaker 1 (01:13:52):
It's like I've never heard of it, but I can
deduce what it is obviously, right.

Speaker 2 (01:13:58):
It's just like people who are you know, have violence
brought upon them by their partners, right, And just like
I was actually reading some stats about that kind of stuff,
not for this about this movie or anything, but just
about something else. And it's interesting, like just that idea
of he shouldn't him looking like a regular dude, and

(01:14:18):
starting with Kay Brown is just I mean, he's a
handsome guy whatever, but he's like a regular looking dude, right,
him being who he is and looking the way he does,
it just emphasizes that idea that this monster can be anybody,
right this And that's probably why he doesn't have a name, right,
the monster is your dad, is your grandfather, is your uncle,

(01:14:41):
is your brother or whatever like that. Domestic violence doesn't
actually need he doesn't.

Speaker 1 (01:14:47):
Need a name.

Speaker 2 (01:14:47):
He's just the monster that you know personally, right, just
that he is your partner to Vivica Fox or to
Janelle no Day's character, but to them, there's just their
dad and it's just a regular dude.

Speaker 1 (01:15:00):
And that's what's scary about him.

Speaker 2 (01:15:01):
Right, Like it's kind of this idea of what's the
movie usual Suspects, Right, Like if you've ever seen that movie,
you know folks like Kaiser SoSE is told and and
in these back in these like back and forth stories
of like this big intimidating.

Speaker 1 (01:15:19):
Guy with long hair and he's just really scary.

Speaker 2 (01:15:22):
Whatever it starts out, that's all bullshit, right like in
the end, And the point is it's the allure of
the story that makes it that much scarier. Like well,
and in fact, it's this like really meet guy who
who is who is the villain? And that's the whole
point of this character.

Speaker 1 (01:15:38):
But I just love that. I just think I think
it's the scene is really well done. So during this conversation,
Anea gets the rock in a sock and like this
is the culmination of her her arc right because this
is this is this is the side of yourself that
has to wrestle with the of wanting like immediate revenge

(01:16:04):
and satisfaction from it. But your better half knowing that
you shouldn't. This is the better half being tested on
whether or not, like you give into that right right
and get the you know Sterling K. Brown's character. He
he begins to be like, that's what your mother told you. No,
that's not what I don't care children, that's not what happened.

(01:16:27):
And he tries, he tries to go into a backstory
right the camp and the you know, the CPA backstory.
Uh color tone comes back and he tries to go
into it and and and Anaya's like no, like what
like no, like she said, you did this right, And
he is able to with a silver tongue, he is

(01:16:48):
able to uh convince her to put down her weapon.
Uh you know. During the conversation they talk about how
she's with child and stuff like that, like no, I
wouldn't do that. I don't kill kids. What the fuck?
And and he and he convinces her like look, no,
I'm going to be a granddad. I'll be a granddad.

(01:17:09):
Like no, no, no, nothing will happen. So down and
he's like you good good bow and then just fucking
knocks our hands out I'm like Jesus Christ like like
like a small part of me, a small part of me,
like the man in me right is like are we

(01:17:33):
are we? Huh? Like are we gonna it? Did this
dude change right? Like I was confused? Right? And then
it's like bam, backhands, like oh nope, there it is. Okay.

Speaker 2 (01:17:45):
No, he's still a little bit a gigantic piece of shit.

Speaker 1 (01:17:47):
You're still a fucking garbage.

Speaker 2 (01:17:50):
But you know what what really works to sell that
is that Stirling K. Brown has something that a lot
of actors do not have, which is he can he
can put tears on the cusp of his eyes without crying.
He can call that in almost everything I've ever seen
him in he is able to pull that, Like the
couple episodes I saw of this A is Us Like

(01:18:11):
every time he can put like he can get his
eyes watering, and you're like, this guy is a human being,
which surely he wouldn't do that. And then it's just
like immediately he turns on there in this scene and
you're like, right, right, I'm the idiot, Like I'm the idiot.
How could I have bought into this? But the point
is you buy into it for a second, because she
buys into it for a second and then she is

(01:18:33):
literally smacked back into reality, as so is the audience.
Go oh right, don't think it's throwing k Brown, the
actor that you like, it's this guy.

Speaker 1 (01:18:44):
Yeah, don't fall for it like this is like, this
is this is the message to people who have been abused.
Don't fall for it. They will say whatever they need
to say in order to get you to lower your guard.
Don't fall for it. Like that is what this scene
says to me. And look, she's like she finally has

(01:19:09):
she she she finally is like And it's funny. He
didn't care about any of his children except for the youngest,
the youngest or the shorter male twin right. I don't
know if he was the youngest. I'm assuming he was
the youngest. He was like that boy was gonna be somebody.

(01:19:30):
H It was like he was going around fucking these women,
making these babies to try and to try and make
the perfect version of what he wanted as a child
for a child, and that's what he and and that's

(01:19:50):
the only I just find that. I just found that
very interesting. I find that very interesting. I mean, that's
you know, that's a very.

Speaker 2 (01:20:01):
I don't want to say, not necessarily like the Abrahamic religions,
but like that's certainly like prominent in like Greek mythology, right.
Like Zeo's trying to like funck his way to like
perfect children, right Like he just like you had so
many kids, and they're like, oh, okay, I'll endowue with
a little bit of a little bit of this, right.

Speaker 1 (01:20:21):
So yeah, that.

Speaker 2 (01:20:22):
Idea of maybe trying to create perfection in that sort
of thing, yeah, I could buy it.

Speaker 1 (01:20:30):
So so Anya is like, look this this thing. I
gotta die yo, like he gotta die. So and and
stolen K Brown's character is like, look, I gave you
an opportunity to leave, but you're still here. What are
you doing here? Right? And and she's just like so right,

(01:20:52):
And all of a sudden, Racine jumps from behind and
and we get we get what we've been we get
what we've been looking forward to. Felt good, felt good? Yeah,
this was this was fucking cathartic man, them kicking them,

(01:21:13):
kicking the ship out of him, uh and beating him
with the rock in the sock. And it was yeah,
it was, it was.

Speaker 2 (01:21:22):
It was they were passing the rock in the sock
to each other, hitting him like like like fucking thor
in Captain America, like like no, you take the little
one out there, like they're like, no, you take the weapon.

Speaker 1 (01:21:35):
Just beating the shut up. That was great.

Speaker 2 (01:21:37):
And then they used the like clothes line them and
ship you know, shout out the dusty roads.

Speaker 1 (01:21:41):
Yeah. Look, I thought that was dope.

Speaker 2 (01:21:43):
And they were like stomping him and like literally kind
of getting excited about it, like they're smiling because they
are full of this you know, vengeful rage. By the way,
shout out to whoever's responsible. Plenty of blood splatter, plenty
of like large kind of buckets of blood on the
ground as he's just bleeding profusely and coupling that with

(01:22:06):
him like kind of falling into it as it's all
over the ground and getting it all over these white
doors and stuff. Yeah, smart like it it it It
adds a level of like visceralness to you know, to
the scene, which I which I appreciated.

Speaker 3 (01:22:20):
Uh.

Speaker 1 (01:22:20):
Then he went into the.

Speaker 2 (01:22:22):
Bathroom and he's fucked up, by the way, because getting
hit in the head of several times with a with
a rock that's got a fuck with your whole equilibrium, right,
you ain't thinking too straight, like you, you are mentally
fucked up. And so he goes into the bathroom and
they lay chase and then they pour alcohol all over him.

Speaker 1 (01:22:41):
Shout out to them.

Speaker 2 (01:22:43):
They light a match and push him into the bathtub,
and then they light this nigga on fire, which was poetic, right,
But unfortunately that is not the end of the fucking story.
They and you hear they racing drops the men and
she's watching and you can see the glow of the

(01:23:03):
fire and you hear him screaming and everything. And they
show a little bit of him in the tub, completely
on fire, and the girls are standing there watching it.
And in one of the better ways of handling these
kind of scenes, they you know, they turn around to

(01:23:24):
walk away, and you see him come out of the
fire and grab Racing and pull her in, thus killing her,
thus her rage also consuming her in. I gotta admit,
I generally don't get mad at movies because it's just
a movie, right, But I was, I was, I understood,

(01:23:48):
but I got a little I was like, God, damn it,
because like you gotta back out the room.

Speaker 1 (01:23:53):
You gotta back out the room.

Speaker 2 (01:23:54):
You never turn your neck but it's also right, you
never turn your back on a villain like movie One
on one, Life one on one, by the way. But
but also I feel like there's a little bit of
the aspect and this is where like my anger for
that moment kind of like subsided quickly. Which is, if
he is seen as a monster, if he's seen as

(01:24:15):
the devil, why would fire be the thing to like
truly like killed him, right, like you know what I mean?
Like he would he would thrive in that a little bit.

Speaker 1 (01:24:25):
And he does.

Speaker 2 (01:24:26):
He gets enough strength to come and then kill one
of his daughters and take her with him, right, thus
leaving the one daughter.

Speaker 1 (01:24:32):
Who was pregnant to kind of move forward. I I
hear you. I see it. I've read that as if
we are reading if we are reading this as the
twins are a metaphor for one person, the person with
all the rage and the person with like the empathy
that kind of doesn't want to have to do this.

(01:24:55):
Now that now that they have dealt with the traumatic
thing that they have, they have they have burned away
the traumatic thing. The you can you can cast that
part of yourself aside, right like that you take all
that negative you take all that negative energy and it

(01:25:15):
burns with it, right, and unfortunately for the characters in
this movie, that is portrayed as like a human having
to having to you know, uh die essentially, you know,
to to get rid of that. But but yeah, if you,

(01:25:37):
if you, or you know, as many ways you could
take this stuff, man, Like, I think that's a gold take.
I do you think it's a god take?

Speaker 2 (01:25:42):
I mean, I think the idea of looking at both
characters as each a side of a single character, I
think is.

Speaker 1 (01:25:49):
I think it's correct.

Speaker 2 (01:25:50):
I mean, there is an argument to be made just
from like a psychological aspect that when people have trauma,
they can partmentalize things, right, and like you do lock
off parts of your personality and things like that human
mind is. I mean, there are millions of examples of this,
like a lot of traumas where people quite literally developed
multiple personalities and things like that. You can you can

(01:26:13):
kind of compartmentalize bits of your personality to deal with
that trauma. You know, people you have memories that don't
become accessible to them until years later, that sort of thing.
So yeah, I think that there is an idea that
once she has gone through this journey, she does have

(01:26:33):
to slough off, you know, not to put a finer
point on it, but or to find a point on it,
like kind of slough off this negativity so she can
move forward and then to be a mom and to
be the sort of the bringer of this next generation
that hopefully does not carry on that same trauma.

Speaker 1 (01:26:51):
So yeah, makes sense. Yes, this is a good move. Yeah.
I enjoyed it. I enjoy it. But it's one of
the good things about one of the things that makes
this good art is while I enjoyed the movie, I
enjoyed talking about it a little more. Yeah, and you
know it, Uh, it's it's from me. It's from an

(01:27:14):
up and coming filmmaker, so, you know, a black woman director.
So you know, support it. You'll have a you'll have
a good time with it. And I look forward to
seeing I'm looking forward to seeing how uh director Harris

(01:27:38):
grows throughout her career. Yeah.

Speaker 2 (01:27:41):
Absolutely, I hope. I hope she I like I'd love
to see I'd love to see her do some some
other sort of very much. I mean, she's she's you know,
black in Trinida and in Trinity, so I'd love to
see some some stuff kind of taking like works that
she's done and kind of adapted or do some more

(01:28:04):
plays and stuff like that, Like I mean, she's got
two more plays, so yes, what to send up when
it goes down and on sugar.

Speaker 1 (01:28:13):
So all right, there you go.

Speaker 2 (01:28:16):
So check out is God Is. It's in theaters. Support
some black art. It's always a good idea. That's why
we're here. And yeah, it's a it's a it's a
it's a damn good watch. It really is, so even
for heathens like me. So all right, that is it
for us. We will see you guys next week for
another episode or for a previously

Speaker 1 (01:28:38):
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Is God Is (2026) | Brutal Confrontation of Generational Trauma

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Is God Is (2026) | Brutal Confrontation of Generational Trauma